When “Dookie” catapulted Green Day to fame back in 1994, the band became synonymous with frenetic pop-punk songs about teenage angst and substance abuse. Six albums and nearly 20 years later, Green Day’s latest release, “¡Uno!,” makes it clear that Billie Joe Armstrong and co. are still just reckless 20-somethings at heart—for better or for worse.

The first in a trilogy of albums (“¡Dos!” and “¡Tré!” are scheduled for release in November and January, respectively), “¡Uno!” is definitely a return to Green Day’s roots. Fans looking for another politically charged rock opera won’t find it here; instead, “¡Uno!” is full of head-banging dedications to sex, drugs and rock ‘n’ roll. While there’s nothing inherently wrong with Green Day bringing back that ’90s-era sound, it can get a little weird listening to a 40-year-old Billie Joe Armstrong sing about “drinking angels’ piss” and “shoot[ing] the f—ing DJ.”

In a way, that youthful vibe is what gives “¡Uno!” its appeal. “Nuclear Family” is fun, upbeat radio fare, and “Carpe Diem” sounds like a rousing battle cry for restless teenagers. Problems arise, though, when that youthfulness crosses the line into immaturity. “Let Yourself Go” is an energetic mosh-pit anthem, but, like so many other tracks on the album, it’s also mind-numbingly repetitive. (Seriously, the lyric “Let yourself go” comes up 48 times.) At times, songs like “Stay the Night” and “Troublemaker” sound almost formulaic, with the same structure of generic opening riff + redundant lyrics + overdone guitar solo appearing on track after track.

The songs take on a slightly more refined tone as the album progresses, though. “Sweet 16” is a crooning reminiscence of young love while hit single “Oh Love” is surprisingly emotionally raw, compared to the rest of the album. “¡Uno!” certainly has its high points, but you have to sift through the filler to find them.

Ultimately, compared to last decade’s “American Idiot” and “21st Century Breakdown,” “¡Uno!” seems like a bit of a regression. There’s a time and a place for chaotic odes to never growing up, but “¡Uno!” comes across more like a musical midlife crisis. What the album lacks in substance, though, it makes up for in energy, and one can only hope that Green Day will put that energy to better use in “¡Dos!” and “¡Tré!”