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[SOLD OUT] Descendents

October 6, 2016 @ 7:00 pm


Skip the bar line and pre-order your drink with Noble

[SOLD OUT] Descendents

with
Beach Slang, Night Birds
advance:
$35
day of show:
$35

October 6, 2016 @ 7:00 pm

Dress Code

NONE

Organizer

Bowery Boston

Other

with
Beach Slang, Night Birds
advance:
$35
day of show:
$35

Doors: 7:00 pm / Show: 8:00 pm

This event is all ages!
SOLD OUT!

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Descendents-Local-Admat

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Descendents

Descendents at The Standing Room. Photograph by Lisa Johnson.

Descendents at The Standing Room. Photograph by Lisa Johnson.

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Hot off the announcement of Hypercaffium Spazzinate, their first new album in 12 years, Descendents have shared the details of a headlining North American tour this fall. The dates kick off September 15 in Minneapolis at First Avenue and wrap up November 12 in Portland at Roseland Theater. Tickets go on sale June 17 at 10am local venue time. Descendents will also perform at both Riot Fests in Denver and Chicago. Hypercaffium Spazzinate is set for release on July 29.

As previously reported, Descendents have shared a new song “Victim of Me”. Click here to listen. Descendents’ first Epitaph release since Everything Sucks in 1996, Hypercaffium Spazzinate, began taking shape after the band ended an extended hiatus to play live in 2010. Though still tight, they lived apart: singer Milo Aukerman — whose cartoon rendering famously serves as the band’s logo — was now living in Delaware, bassist Karl Alvarez and founder and drummer Bill Stevenson were in Colorado, and guitarist Stephen Egerton had settled in Oklahoma. So the album came to life over three years as the band sent tracks back and forth, occasionally meeting up in Karl and Bill’s adopted hometown of Fort Collins. Adopting such a protracted process meant not having to rush things, allowing for some of their sharpest songwriting yet.

Every Descendents album is an event. Formed in 1978, the band’s first releases have proven historic, and all the ones since have only further refined the Descendents concept. Punk, pop, buzzing, summery, heartfelt, defiant, adolescent, and wise all at once — the Descendents. Twelve years have passed since there’s been new Descendents music. Finally, here comes their long-awaited album, Hypercaffium Spazzinate.

Pre-orders for Hypercaffium Spazzinate are available at https://lnk.to/descendents.

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Beach Slang

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We’ve been waiting for a while and finally it’s here. Over the past two years Beach Slang have proved themselves as a band who can write memorable songs, share that energy live and create a community of like-minded fans but they’ve always been missing one important element: An album. Luckily the band’s full-length The Things We Do To Find People Who Feel Like Us is the culmination of their collective career and picks up where their two critically acclaimed 7-inches, 2014’s Cheap Thrills On A Dead End Street and Who Would Ever Want Something So Broken? left off. The feelings of youth and vulnerability lie at the core of Beach Slang’s music, which is part punk, part pop and all catharsis. It references the ghosts of the Replacements but keeps one foot firmly rooted in the present. It’s fun and it’s serious. It’s sad but it isn’t. It’s Beach Slang. This Philadelphia-based act have built their hype the old-fashioned way, without any gimmicks or marketing teams, which makes sense when you consider that frontman and writer James Alex cut his teeth in the celebrated pop-punk act Weston while drummer JP Flexner, bassist Ed McNulty and guitarist Ruben Gallego also played in buzzed about projects such as Ex-Friends, Nona and Glocca Morra respectively. However there’s something indefinable about Beach Slang’s music that evokes the spirit of punk and juxtaposes it into something that’s as brutally honest as it is infectiously catchy. “By and large we subscribe to the idea of “if it isn’t broken, we’re not going to fix it’ so, yeah, we came at this recording in very much the same way,” Alex explains when asked how they approached the new songs from a sonic perspective. “I mean, we had more time to make this album, which is a cool thing, but time can also be a strange overthinker. Really, we’ve just always wanted to make our things sound like well recorded live records.” he continues, adding that the biggest difference this time around is the fact that engineer Dave Downham stepped up to co-produce this album and the fact that the band has finally found a full-time fourth member in guitarist Ruben Gallego. “Having both of them and their ears involved definitely helped a lot. I hardly listen back to things in the studio. For me, if it feels right, it’s a keeper. But, yeah, there’s something pretty alright about striking a balance.” Obviously there has been demand for a Beach Slang album since they exploded onto the scene, however the band was very careful not to rush out something before it was totally ready. “I write every day regardless of what else is happening. And what we wanted to make happen was as many live shows as possible. There’s an importance in that, a necessity. Rock & roll isn’t meant to exist on computer screens, you know?” Correspondingly the hundreds of shows that the band played between this album and the EP is all now automatically embedded in their recorded output. “I’m hardly concerned about our music being technically precise. I want to make sure it has soul, that it’s honest. The imperfections…that’s the really good stuff. We don’t ever want it to be perfect.” While The Things We Do To Find People Who Feel Like Us further expands on Beach Slang’s unique sound, it also showcases their sonic diversity. From the shoegazing sheen of “Noisy Heaven” to the downbeat dreaminess of “Porno Love” and refracted rage of “Young & Alive,” the album is a fuzzed-out masterpiece that takes influence from the past while staying rooted in the present. “Certainly we are going to sound like Beach Slang because, you know, we are but we didn’t want to make this record a xerox of anything we’ve done. That stuff has no guts, you know?,” Alex explains. “Even if you go from the first EP to the second EP there’s a nice, little arc and range of things happening. I think that’s even more true of this record.” “There’s a line in that first song ‘Throwaways’ that goes ‘there’s a time to bleed and a time just to fucking run”: I’ve sung that line so many times between developing and writing the thing and I still get that little-hair-standing-up-on-my-arm moment every time I say it,” Alex says. It’s probably because the sentiments that he’s expressing have never been a choice. “Certainly there’s an element of nostalgia inherent in the writing because a good bit is reflective but it never lodges in the past; it’s more of a battle cry to now and where we’re going. Look, growing up and getting serious is wildly overrated stuff. Don’t listen to it. Jump around with a guitar. Play records loud. Never retire from being alive. Move on it.”That movement is alternately beautiful and crushing. It’s blazing and plodding, silent and deafening but always progressing and pushing toward that barely visible beacon in the horizon. The Things We Do To Find People Who Feel Like Us is just a giant step closer to our destination.

Night Birds

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Night Birds is comprised of four thoroughly modern morons from the New Jersey shore. After one listen it will only seem right that these guys spawn from the same state that brought you such class acts as the Misfits and Adrenalin OD. This high-octane surf-inspired punk rock band formed in the spring of 2009 following the demise of bassist Joe Keller’s band, The Ergs! While perhaps best known for their extensive touring and electrifying live performances, Night Birds continue to excel in the studio – crafting fresh, powerful recordings influenced by punk/hardcore greats of yore. To date, the band has released a handful 7″ EPs as well as three full-length albums; their 2011 debut album, The Other Side of Darkness, 2013’s Born To Die In Suburbia (both on Grave Mistake Records), and 2015’s Mutiny at Muscle Beach on Fat Wreck Chords. Tuneful and aggressive, yet far from formulaic, the music of Night Birds is both attuned to the times and rooted in the classics.