Artist: Green Day
Album: ¡TRE!
Genre: Rock
Release Date: 2012
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 46:42
Total Tracks: 12
Total Size: 1012 MB

Tracklist:

01. Green Day – Brutal Love (04:54)
02. Green Day – Missing You (03:43)
03. Green Day – 8th Avenue Serenade (02:36)
04. Green Day – Drama Queen (03:07)
05. Green Day – X-Kid (03:41)
06. Green Day – Sex, Drugs & Violence (03:31)
07. Green Day – A Little Boy Named Train (03:37)
08. Green Day – Amanda (02:28)
09. Green Day – Walk Away (03:45)
10. Green Day – Dirty Rotten Bastards (06:26)
11. Green Day – 99 Revolutions (03:49)
12. Green Day – The Forgotten (04:58)

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Green Day, the iconic Punk/Pop trio, has released the third and final installment in their highly-acclaimed trilogy Uno! Dos! Tre!. The album features twelve brand new Green Day tracks and includes the standouts “Brutal Love,” “X-Kid” and “99 Revolutions.” Tre! is a blazing set that showcases the band’s rich diversity.Arriving earlier than expected but last as planned, Green Day’s third album of 2012 concludes their pop-punk trilogy not on a triumphant note but on one of confusion. Green Day’s blueprints for 2012 and beyond may have been trashed by Billie Joe Armstrong’s unexpected entry into rehab but that doesn’t alter the albums themselves, which aren’t necessarily a carefully constructed trilogy but rather an outpouring of energy, the group pushing out every completed song it had. ¡Tré!’s two predecessors had clear identities: ¡Uno! was the arena rock record; ¡Dos! was the punk-garage lark. In contrast, ¡Tré! feels like leftovers, the songs that didn’t fit either theme, a collection of songs capturing the band at its loosest and poppiest, throwing away tunes without much care. It’s hookier and not as ponderous as ¡Uno! but not quite as breakneck as ¡Dos!, never delving into the sleaze of “Fuck Time,” never feeling like a last grasp at adolescence the way ¡Dos! did at its best. Instead, ¡Tré! is a morning-after record, sometimes regretful, sometimes unrepentant, divided between unapologetic partying and amends for their wayward ways. On the whole, ¡Tré! winds up on the happier side of the scale: the rhythms are insistent, the hooks immediate, the veneer bright and cheerful, never once regretting the chaos that happened the night before. But underneath this good time is the slight, perhaps unconscious, admission that things cannot continue as they did before. There is not the desperation or the hedonistic pulse that ran through ¡Dos!, but rather a shrugging admission that the time for partying is over. So there’s a bittersweet undertow to ¡Tré!, a feeling underscored by Armstrong’s rehab: he could no longer continue trying to recapture his youth, but dammit if he doesn’t come close to doing so at times throughout ¡Tré!