Descendents
Milo Goes to College

THE REVIEW

Despite their historical importance on American soil, and beyond, the Descendents remain an underrated band that has surely not been given the proper recognition relative to their value, merits, and strong influence on many future bands. Enthusiasts of the genre, and anyone who considers themselves as such, know the story of Milo Auckerman and company well, but stepping out of this niche spiral, from a global and mass perspective, the Descendents are truly little known to the general public.

California in the 80s was a tumultuous hotbed full of more or less hardcore bands, that still live in the hearts of fans today. Nonetheless, the true peculiarity that distinguishes the Descendents is something else. Compared to the various rabble-rousers and the frenzy of Black Flag and Minor Threat, they proposed a new element – melody. In essence, they preferred singing to yelling.

"Milo Goes To College" under New Alliance Records (a subdivision of SST owned by the Black Flag guitarist) is the real debut, following a single and an EP. A debut that burst onto the scene, with 15 tracks that are explosive yet melodic and sweet, balancing between a melodic hc akin to late 80s/early 90s Bad Religion and the British pop-punk of the Buzzcocks.

Starting from the premise that no one invents anything from scratch, the fact remains that the four Californians, alongside the English Buzzcocks, are the pioneers and masters of that form of punk that distances itself from the original root of the genre, especially in sound, by softening it into a more welcoming and thoughtful spiral, but as we will see, also in lyrics.

Returning to our subject, the record is a succession of true anthems, among the most genuine songs punk rock has ever produced, and it matters little if some self-proclaimed experts with certificates around their necks have decided that none of them make it into the so-called top 100 definitive rock music hits.

It kicks off with the rhythmic "Myage", which already serves as an excellent appetizer, offering a glimpse of what's ahead and immediately highlighting two important elements: Milo's excellent adolescent, genuine, and passionate voice and Lombardo's sublime bass parts, which sometimes paint joyful spring landscapes and dreamy carefree atmospheres ("Bikeage"), and other times dark and ominous vignettes ("Parents"). The bass is the cornerstone of the Descendents’ signature, exceptionally utilized during the songwriting process, as few other bands in this field have done.

"I'm Not A Punk", in its progression, is almost epic, reminiscent of Bad Religion’s "No Control", the same sensation occurs when listening to the equally successful "Suburban Home", opened and closed by a short spoken intro.

On the other side, "Catalina", "Bikeage", and "Marriage" pick up from where the opener left off, being highly anthemic and singable, as well as the core of the modern pop-punk future as it is known today. However, there remains a healthy simplicity and spontaneity as cardinal points, which many future bands forgot when playing. "Jean Is Dead", with its desperate and repeated scream "but now you're gone and I'm alone", ends the show with a final high note.

No filler, all the episodes, even the micro-organisms ("I Wanna Be A Bear") have something that captures and seduces you, but "Hope" is a gem of immeasurable value, a truly historic anthem that rises above everything and everyone, with its energy that does not leave anyone indifferent, an epic and sunny ride, comparable, yet superior to "You" by BR. A manifesto programmatic of the American four-piece.

What to say about the lyrics, other than they are amazing, a snapshot of a society made up of its own barriers and aspects, often problematic. Love and girls ("Hope"), being rejected ("Parents"), friendship, protests, and critiques of society, all themes filtered and experienced personally by Milo Auckerman (vocals and now biochemical scientist), Bill Stevenson (drums and now also sound engineer), Tony Lombardo (bass), and Frank Navetta (guitar, RIP). A sort of concept on adolescence, as the album title and the parody of the spectacled schoolboy Auckerman on the cover suggest, in which thousands of young people can find themselves described, myself included to my surprise.

Played with heart and ideals, by those who at the time believed in certain values. A cornerstone of the thirty-year-old hardcore book, that's what "Milo Goes To College" is. Long live the youthful spirit, long live the Descendents.

"...I'll be there my day will come i know someday I'll be the only one..."