Exterminieren
Banned
Release Dates:
- ¡Uno! - September 25 2012
- ¡Dos! - November 13 2012
- ¡Tré! - January 15 2012
Track Listing: ¡Uno!
Track Listing: ¡Dos!1. Nuclear Family
2. Stay the Night
3. Carpe Diem
4. Let Yourself Go
5. Kill the DJ
6. Fell for You
7. Loss of Control
8. Troublemaker
9. Angel Blue
10. Sweet 16
11. Rusty James
12. Oh Love
Track Listing: ¡Tré!1. See You Tonight
2. It's Fuck Time
3. Stop When the Red Light Flash
4. Lazy Bones
5. Wild One
6. Makeout Party
7. Drama Queen
8. Ashley
9. Baby Eyes
10. Lady Cobra
11. Nightlife (feat. Lady Cobra)
12. Wow, That's Loud
13. Amy
1. Brutal Love
2. Missing You
3. 8th Ave Serenade
4. Stray Heart
5. X-Kid
6. Sex, Drugs & Violence
7. Little Boy Named Train
8. Amanda
9. Walk Away
10. Dirty Rotten Bastards
11. 99 Revolutions
12. The Forgotten
The Singles
Oh Love- Official Video, Lyric Video
Kill The DJ- 1, Official Video
Let Yourself Go- Live Video
Nuclear Family- Official Video
About the Band
Rolling StonePunk revivalists with style, substance and hooks galore, Green Day have gone through two distinct identities. They were bratty, mischievous twentysomethings when they hit MTV in 1994, and with a green-haired, snaggle-toothed Billie Joe Armstrong ripping up the furniture, dancing with a monkey, and singing about the joys of masturbation, the raucous trio's major-label debut, Dookie, went triple-platinum. But Green Day became elder statesmen during the 2000s with American Idiot and 21st Century Breakdown—a pair of epic, politically charged rock and roll operas that chronicled the confused reality of life in the first decade of the new millennium.
Friends since age 10, Billie Joe Armstrong and Mike Dirnt grew up in Rodeo, California. They formed their first real band, Sweet Children, at 14. When they were 17, the pair first recorded as Green Day, signing with the punk label Lookout and releasing the 1989 EP 1,000 Hours with drummer John Kiffmeyer. The next year, the group recorded its first full-length album, 39/Smooth, in a day. Two more EPs followed, with Kiffmeyer leaving to focus on his studies and Tre Cool, with whom Armstrong had played in a band called the Lookouts, taking over on drums for 1992's Kerplunk. With a solid fanbase built on the nurturing, all-ages hardcore scene in Berkeley, the group signed with Reprise in April 1993. Its 1994 release, Dookie, proclaimed the next generation of punk, hitting Number Four on the album chart, buoyed by the band's effervescent presence on MTV and at Lollapalooza and Woodstock 1004. The album won a 1994 Grammy Award for Best Alternative Music Performance and sold 10 million copies worldwide.
The 1995 follow-up Insomniac sold nearly 3 million copies and charted at Number Two, but failed to repeat the success of the band's major-label debut. Nimrod (Number 10, 1997) sold a million copies but won fresh exposure for the group, largely on the strength of the ballad "Good Riddance (Time of Your Life)." In 2000, Green Day released Warning (Number Four), a more introspective, even folk-influenced record that showed the group stretching artistically. Despite producing the radio hit "Minority," the album was a commercial letdown, selling fewer than a million copies. Two compilations followed: A best-of, International Superhits! (Number 40, 2001), and the B-sides round-up Shenanigans (Number 27, 2002).
It would be four years before Green Day returned with American Idiot, a fully-realized rock opera and great leap forward in the band's musical capabilities and cultural importance. Released four years into the administration of George W. Bush—the titular idiot—and two months before the 2004 ballot in which he won re-election, the album depicts an American dream thwarted. "Jesus of Suburbia," a nine-minute, five-part suite, is the centerpiece, moving seamlessly from thrash to balladry to delicate harmonies and country shuffles while maintaining a narrative. "Holiday," "Boulevard of Broken Dreams," and "Wake Me Up When September Ends" each reached the charts as hit singles while still fitting with the album's rich narrative. The band had learned to fuse its pop sensibilities with a propensity for album-length storytelling in a way that none of its contemporaries had.
Remarkably, the band returned five years later with an even more ambitious conceptual project, 21st Century Breakdown. Full of religious overtones, the 18-track epic tells the story of two young punk lovers, Christian and Gloria, adrift in the broken post-Bush era. Divided into three sections—"Heroes and Cons," "Charlatans and Saints," and "Horseshoes and Hand Grenades"—the mostly short, sharp songs attack Christian hypocrisy on "East Jesus Nowhere," government on "21 Guns," and parents, teachers, and everyone else our heroes have ever looked up to on "21st Century Breakdown": "We are the desperate in the decline/Raised by the bastards of 1969."
The beauty of 21st Century Breakdown—and Green Day's reinvention over a decade into its career—is their ambition and desire to push boundaries when few of their peers have done the same. It's one of the most remarkable transformations in rock and roll history.
About the Albums
Rolling StoneWhat did you think Green Day needed to do next, after American Idiot and 21st Century Breakdown? You couldn't do a third punk opera in a row.
People ask me all the time. Even my son asked me, "Dad, would you ever go back to playing songs like from [1994's] Dookie and [1992's] Kerplunk?" I love those records. I love the punk stuff I grew up on. But there are so many bands who make the mistake – "We're going back, old-school." Well, that's all you're doing. You already did it. So we're changing the guitar sound. We're not going with the big Marshall-amp thing. We wanted something punchier, more power pop – somewhere between AC/DC and the early Beatles.
There is a different density, from the operas, in the new mixes I've heard. There are not a lot of parts in there, but what goes on in the songs has dimension and thrust.
The last two records were studio albums. This one – we started rehearsing every day, constructing these songs together. It felt like we were all in a room jamming – everyone in the mix, throwing out ideas. If you listen to it, it feels grand. But it also feels like a garage band.
When did you realize you had three albums' worth of solid new songs instead of just one?
The songs just kept coming, kept coming. I'd go, "Maybe a double album? No, that's too much nowadays." Then more songs kept coming. And one day, I sprung it on the others: "Instead of Van Halen I, II and III, what if it's Green Day I, II and III and we all have our faces on each cover?"
Like the KISS solo albuns.
I've already heard that one. [Laughs] The last record got so serious. We wanted to make things more fun.
Green Day“Three albums, like this, it’s never been done before and proves how free we are as a band in our approach.”
The Green Day singer is in characteristically defiant mood.
And no wonder. The Californian trio are about to release THREE new studio albums, called ¡Uno!, ¡Dos! and ¡Tré! (“Yes an album named after me,” jokes drummer Tré Cool.) All will be released within four months, six weeks apart, and if there are any nerves about this tall order, they’re not on show today.
SFTW are at the Bren Events Center at Irvine University, California, where the band from Oakland are taking a break from rehearsals to chat.
They’ve been holed up in a nearby house for the past few weeks as they prepare for upcoming live shows across Europe including a surprise appearance at Reading Festival this weekend, to play their breakthrough 1994 album Dookie in full.
They’re off the booze and have been working out, looking healthy and lean.
“We have a mammoth task ahead,” says Billie Joe. “We usually have five weeks of rehearsals up to the release of an album but this time it’s ten weeks including promo and production as we have three records in one. We don’t make things easy for ourselves.”
Not that he seems fazed by what lies ahead. As a group of UK friends scream at a TV showing Mo Farah winning the 10,000 metres, Billie Joe, 40, continues to pose for a magazine cover shoot. It seems everything with Billie Joe is taken in his stride. There are no distractions.
“There was no planning for these albums,” Billie Joe tells me later from the band’s dressing room.
“We even took the three album cover photos of us on our iPhones.
“And it’s the first time we’ve got sex, love AND politics here. It’s what the whole record is about.
“The first record is back-to-basics power pop, classic Green Day. But done with a new sound. It’s like getting the party started. Then the next record is the party going wild and you’re deep into the hell of it. Then the third one is about love and reflection.
“We have songs on there like Oh Love, Wild One, Makeout Party and F**k Time which are about sex because sex is fun.
“We’ve hinted at it before in songs but now it’s just more direct. Instead of implying it, we say, ‘It’s f**k time’. You can’t be more direct than that!”
Reviews- ¡Uno!
Rolling Stone- 4/5
Slant- 3/5
NME- 6/10
The Guardian- 3/5
The Independent- The most negative 3/5 review I have ever seen.
BBC
Spin- 7/10
¡Uno! Album Trailer
¡Dos! Album Trailer
¡Tré! Album Trailer