Descendents Milo Hypercaffium Spazzinate Figure by Super7
– The punk rock collab of Super7 x Descendents continues with the glow-in-the-dark Milo
– Standing 3.75″ high, the Hypercaffium Spazzinate Milo comes with beaker and microphone accessories.
– Get this Descendents Milo Hypercaffium Spazzinate Figure and add it to your other Descendents collectibles!
Check out the Misfits Collection I Fiend Figurine !
About the band
The Descendents are an American punk rock band formed in 1977 in Manhattan Beach, California, by guitarist Frank Navetta, bassist Tony Lombardo and drummer Bill Stevenson as a power-pop/surf punkband. In 1979, they enlisted Stevenson’s school friend Milo Aukerman as a singer, and reappeared as a melodic hardcore punk band, becoming a major player in the hardcore scene developing in Los Angeles at the time. They have released eight studio albums, three live albums, three compilation albums, and four EPs. Since 1986, the band’s lineup has consisted of singer Milo Aukerman, guitarist Stephen Egerton, bassist Karl Alvarez, and drummer Bill Stevenson.
Over the years, the Descendents style of music has changed from short under a minute hardcore style songs to average length 2–3 minute punk rock songs. The lyrical content of the Descendents made them being cited at the time as one of the most significant punk bands of the 1980s hardcore punk movement. Critics have cited that their earlier music style which reflected hardcore punk being influential to modern day skate punk and pop-punk. Steven Blush, author of American Hardcore: A Tribal History, remarked that their “cheeky love songs disguised as hardcore blasts became the most aped formula in rock.” Ned Raggett of AllMusic in his review of Milo Goes to College called it “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 Aukerman’s in-your-face hilarity and fuck-off stance, and it’s punk rock that wears both its adolescence and brains on its sleeve.”
Bill Stevenson attributed the change of their sound to the band’s invention of the “Bonus Cup”: “We took ⅓ of a cup of instant coffee grounds, added some hot water, threw in about 5 spoonfuls of sugar, and proceeded to play 10 second songs. The Bonus Cup became a part of everyday Descendents life.” Aukerman later recalled: “We started drinking too much coffee; ’cause of that and the addition of me, the music became very quick and all about bursts of energy. It’s interesting: we started very melodic, then moved to hardcore, but melded the two at a certain point and became melodic hardcore.”
During the band’s first reformation, the songs got longer, darker, and experimental. Enjoy! was marked by the use of toilet humor, with references to defecation and flatulence in its artwork, the title track, and “Orgofart”. It also displayed a darker, more heavy metal-influenced sound in songs like “Hürtin’ Crüe”, “Days Are Blood”, and “Orgo 51”, with other songs recalling the pop-influenced punk of the band’s previous efforts.
The songs on Everything Sucks and Cool to Be You address topics including love and relationships, sociopolitical commentary, the death of parents, nerdiness, and flatulence. “‘Merican”, their first overtly political song, addresses positive and negative aspects of American history, celebrating cultural figures such as Otis Redding, Duke Ellington, and Walt Whitman while condemning slavery, Joseph McCarthy, the Ku Klux Klan, and the Vietnam War. Stevenson wrote “One More Day” about the death of his father, who he had taken in and cared for throughout the last year of his life: “He and I always had a terrible relationship. We spent a good part of my adult life being somewhat estranged from each other. He became ill and I took care of him for a little while. And then he died. That song is just about his and my relationship. Just to get that out of me and not holding it inside anymore, is a huge relief for me […] Every single time I hear that song, it just freaks me out. I’ve never, ever written a song that’s freaked me out that much.”
