Green Day – ¡Dos! Green Day – ¡Dos!

Green Day – ¡Dos!

I said I was going to do this didn’t I? I enjoy serialized albums as well as blindly defending Green Day to people my own age. It makes for riveting dinner party discussions. Why not start out the salad course with why American Idiot was perhaps one of the band’s best albums outside of Dookie or how their underrated work from Insomniac to Warning wasn’t a failure rather a preparation for further records? Unlike their 8th wave punk rock contemporaries, Green Day has aged gracefully transforming themselves from snotty punk kids to snotty political adults. To capitalize on their success, the band is in the midst of releasing a triple album in defiance of older age. I already professed my enjoyment and vivid memories with ¡Uno! now it is the time for the ¡Dos!. I said I was going to do this didn’t I?

Unlike the predictable and textbook pop punk heard in ¡Uno!, ¡Dos! was said to have a garage influence and retain a dirtier sound. The style would be similar to Green Day’s alter musical ego Foxboro Hot Tubs which the band uses to play secret concerts. Alright whatever. Regardless, the second volume in Green Day’s is thematically different than ¡Uno! at least it was suppose to be. It was also suppose to be listenable and not downright irritating. Whatever.

The second volume of Green Day’s immaculate trilogy falls short of a strong opener heard in ¡Uno!. I keep rereading this wanting to emphasis how short it has fallen. The last few years have been a wonderful time for garage and psych with outstanding releases from Ty Segall, Tame Impala, Thee Ohh Sees, and Mikal Cronin. Listening to that sound shrink wrapped and given a cardboard backing feels empty. Actually no, it feels offensive especially when it is given the degenerate sexual overtone where band members near their 40’s still write songs about making out. A corporate sheen may work for pop punk but it is diametrically opposed to the spirit of garage. Take that and add the fact that the dirt and raunch feels manufactured and advertised to horny teenagers and one has a broken machine where well oiled pop punk should have been fine. I sort of understand the direction where ¡Dos! was suppose to go but the album ends up at a dive bar with terrible beer, aged bikers, and an astronomical cover. This sucks I want to go home.

The level of irritation reaches profound heights with Green Day’s costumed drunken swagger which lies unconscious between an alley in the Sunset Strip and a casting couch. I hate this so much. Tracks like “Stray Heart,” “Lady Cobra,” “Nightlife” and the horrific “Fuck Time” merely gives the band wigs and cheap leather which is about as interesting as the alter ego they use as inspiration. No one is fooled except for perhaps the people who thought this was a good idea. I do not even know who you are suppose to me. Rather than using a dirtier sound to revel in texture and raw emotion, the album celebrates sleaze in a way that is less fun that wearing crotch-less leather pants. This suck I need to go home now to change.

I enjoy Green Day for many things. I enjoy them for their tenacity and ability to evolve with the times and continually reach new generations of disaffected yet privileged teens. ¡Uno! was a fantastic opener which gave me hope for the future. ¡Dos! comes a little too close to its own heat source accidentally allowing the feathers to melt. What was once a beautiful ageless bird has revealed an ugly creature that is ineffective at creation and is scared to death with becoming irrelevant. Whether or not the band’s third operatic closer can save the monumental trainwreck of its middle section will of course be revealed in January. I said I was going to do this didn’t I? Why can’t Radiohead release another series of remixes?

Green Day - ¡Dos!, reviewed by Kaptain Carbon on 2012-12-11T12:37:37-08:00 rating 1.5 out of 5

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