By Brian Wright

Three distorted power chords never sounded so good. This is the classic sound and style that most music fans identify with Green Day. From the band’s breakout 1994 album “Dookie” to their most recent effort, they have been most identifiable by three crunchy power chords, simple song structures and catchy choruses.

This formula that made them so successful is back in full force on 2012’s “¡Uno!”, which is the first in a trilogy of albums titled “¡Uno!”, “¡Dos!”, and “¡Tre!” “¡Dos!”, the second of the three, is due out in November and “¡Tre!”, the final installment, will hit shelves in January 2013.

After two consecutive concept albums, 2004’s critically-acclaimed “American Idiot” and 2009’s “21st Century Breakdown”, “¡Uno!” is similar to the band’s earlier albums, which were relatively short, catchy, punches to the face.

“Nuclear Family”, “Stay the Night” and “Carpe Diem,” the first three tracks, contain searing guitar riffs, matched by tight playing from both bassist Mike Dirnt and drummer Tre Cool.

Meanwhile, singer, guitarist and band leader Billie Joe Armstrong sings with fire and loads of teenage angst, as if he were 18 all over again.

“Nuclear Family” addresses what Armstrong perceives to be the demise of the nuclear family dynamic in American Society. He gets his point across with lyrics such as, “it’s the death of the nuclear family staring up at you.”

“Stay the Night” is a bit slower in tempo, but still exhibits common characteristics of Green Day songs, such as palm muting the chords in the verses.

Palm muting is a guitar playing technique in which the musician rests his strumming hand( in Billie Joe’s case his right hand), on the strings of the guitar. This prevents the strings from ringing excessively, and creates a slightly muted sound.

“Let Yourself Go” is the fourth track on the album, and the third single to be released from it. It’s vintage Green Day; fast, angry, with a style which will make you want to sing out loud and push the gas pedal down a little harder while driving, although I wouldn’t recommend that.

The highlight of the album is the next song (and prior single), called “Kill the DJ.” It’s very different from most other songs the band has released.

Lyrically, it is very vulgar, but the music is where the track really stands out. The main riff of the song has a very dance-like, swing type feel.

Tre Cool sets the tone for the songs behind the drums, producing a driving beat that makes you just want to tap your foot throughout the entire song.

The next standout track is entitled “Troublemaker.” The riff is quick and bouncy, with plenty of influence from punk pioneers such as The Clash.

“I wanna be a troublemaker,” Armstrong announces through the chorus. You also get a hint of B-52’s influence, something I haven’t been able to detect on other Green Day releases.

“Sweet 16” is played with a little less distortion on the guitar and a little less angst in the vocals. Armstrong also takes a shot at crooning the chorus here: “The kid’s alright, alright as he’ll ever be / you will always be my sweet 16.”

The aggressiveness is toned down a lot on this track, making it perhaps more accessible to top-40 radio airplay, although the band probably isn’t shooting for that.

The final track, and first single, “Oh Love”, finds the band chugging along at another mid-tempo pace. Armstrong’s lyrics here suggest he is getting a bit lonely: “I’m wearing my heart on a noose / tonight my heart’s on the loose.”

Clocking in at just over five minutes, it’s the longest track on the album, but it’s also an excellent closer.

Since Green Day’s inception in the late 80’s, they have made use of the typical punk rock formula which, in so many words, states, “we’re going to play this three-chord riff throughout the entire song, loudly, and with plenty of distortion.”

The Berkeley, CA trio has never really deviated from this blueprint and hasn’t needed to. It’s amazing what a band can create with just a fast drum beat and a few power chords.

So, while not mind-blowing, there’s enough here to keep any Green Day fan satisfied, and, at just over 40 minutes in length, listeners should be pining for the next record in the trilogy (“¡Dos!, out in November) after about a month with this one.