Condition: Brand New
Milo Goes to College is the 1982 debut studio album by the Descendents, released through New Alliance Records. It combines the raw energy of Southern California hardcore punk with unexpectedly strong melodies, sharp lyrical themes of suburban life, adolescent alienation, relationships, and longingnot just anger. The albums brevity (15 tracks in just over twenty minutes), its breakneck tempos, and earnest delivery are counterbalanced by humor and emotional vulnerability, which give the record a depth beyond many of its peers.
Over time, Milo Goes to College has come to be viewed as a foundational work in melodic hardcore and pop-punk. Its aestheticfast, concise songs that are nevertheless tuneful and deeply personalhas influenced generations of punk bands. Collectors and newcomers alike often point to this album as a key moment in punks evolution, where youthful frustration was expressed with both force and heart.
Reviews:
An unpretentious, catchy winner. The playing of the core band is even better than before, never mistaking increased skill with needing to show off; the Lombardo/Stevenson rhythm section is in perfect sync, while Navetta provides the corrosive power. Add in Aukermans in-your-face hilarity and fuck-off stance, and its punk rock that wears both its adolescence and brains on its sleeve. AllMusic
All straight-ahead punk 15 songs in less than a half hour, each full of metally riffs and lightning-speed plucking by bassist Tony Lombardo, who was always the bands secret weapon. Much like The Who, the Descendents often used the bass for melodies and the guitar to bash out a steady rhythm. Rolling Stone
Cheeky love songs disguised as hardcore blasts became the most aped formula in rock. American Hardcore: A Tribal History
Perfect for the little guy who was ever called a nerd and never got the girl. The chainsaw pop combined with earthy humor conveys what is often an inarticulate rage. Los Angeles Times
These fishermen dont kid around about what powers hardcore hyperdrive–not simply an unjust society, but also a battered psyche. When theyre feeling bad, any kind of powermoney, age, ass-man cool, the possession of a vaginacan set off their anarchic, patricidal, homo-baiting, gynephobic rage. But their bad feelings add poignant weight to the doomed vulnerability of the last four songs, which happen to be their hookiest. The Village Voice
AllMusic rating: AllMusic users: (668 votes) Read the AllMusic.com review
A1 Myage
A2 I Wanna Be A Bear
A3 I’M Not A Loser
A4 Parents
A5 Tonyage
A6 M 16
A7 I’M Not A Punk
A8 Catalina
B1 Suburban Home
B2 Statue Of Liberty
B3 Kabuki Girl
B4 Marriage
B5 Hope
B6 Bikeage
B7 Jean Is Dead