Album Review: 9th & Walnut by Descendents (by John O'Hare)

Descendents need absolutely no introduction whatsoever. So let’s dive straight into the latest release, 9th & Walnut (Epitaph, 2021). This record isn’t a straight up new album, it’s a bunch of songs originally written between 1977 and 1980 with only three having been released previously. The most interesting thing to note is that this was recorded with the ‘classic’ lineup – which features Tony Lombardo on bass and Frank Navetta on guitar, alongside mainstay members Milo Aukerman and Bill Stevenson.

Opening track Sailor’s Choice is typical Descendents. Opening with that fizzy, bright guitar tone we’ve come to love and immediately thrusting Milo’s vocals at you within 20 seconds. The bass is expectedly prominent, precise and clean. Before you know it, Sailor’s Choice has finished and second track Crepe Suzette has opened with a cheeky bass riff. It’s perhaps the simplicity in the bass and guitar that gives this song a more rock ’n’ roll kind of vibe which I found interesting. Once again, before you know it the song has finished and we’re treated to another cheeky bass intro, this time opening up You Make Me Sick. The vocal melody is an instant hook and could easily have appeared on Descendents’ previous record Hypercaffium Spazzinate (Epitaph, 2016). If you’re familiar with Descendents’ back catalogue, you just knew this song was gonna end with the sound of someone being sick. Nice.

Lullaby is a slight departure to the previous songs in that the guitars are deeper and the main riff doesn’t sound obviously like the same band. This was the first time when it felt like the song was written by younger musicians – which it was, remember?

Track 5, Nightage is the obvious stand out, due to the -age title – a common Descendents moniker. Once again the bass is working hard throughout. Nightage is the longest song on the record, even making space for a guitar solo. Keen listeners will hear a sample of someone saying ‘Play it Frank, Play it’. It’s definitely Frank’s moment to shine. Baby Doncha Know, is a short aggressive blast, ending with some staggered drum/guitar smashes and a snotty Milo exclaiming ‘Do you know what you’re gonna do with yourself/I guess not’

Up to this point, there hasn’t been a standout track, although the excellent musicianship, complimented by Milo doing exactly what we love is really great to hear. Tired Of Being Tired came out of nowhere and blew me away. Opening with Tony showing off his bass skills and Bill Stevenson on drums sounding as if he’s in his element, the song has no chorus, but each verse ends with a fantastic, harmonised vocal line that changes the whole dynamic of the song…and then it’s gone. Thankfully this moment is played out 5 or 6 times so you can appreciate it in all its glory. I’d happily have it a few more times if I could.

I’m Shaky is another slight departure from what you expect in a Descendents song. Even the backing vocal chorus shout of ‘Guess I’m Pretty Shaky’ sounds like a different band. The bass favours a blues-rock style riff which also sets the song apart. The vocal harmonies on this song definitely give it another edge which I enjoyed.

Anyone aware of Descendents knows they’re fond of throwing in some weird, discordant songs in there from time to time. Grudge is the moment it takes that turn. It starts out fairly straight up punk, but soon enough drops to just bass and drums with a spoken word part. I’m interested to know who it is in this part, ’cause it doesn’t sound like Milo at all. To me it sounds like Paul Stanley of KISS, giving his rock and roll speech at the end of God Gave Rock N Roll To You… haha.

I love it when it’s clear the placement of tracks has been thought about – following the moody, aggressive Grudge with the super melodic, bittersweet Mohicans is a stroke of genius and really makes this song pop. I was pleased to hear it featuring Bill Stevenson’s trademark double snare hits in the intro. Wonderful.

Like The Way I Know has a super memorable chorus line, delivered in typical Milo fashion. This is one of those short, sweet songs that gets stuck in your head because of its simplicity. The record takes another weirdo turn with It’s A Hectic World. It seems super simple, but having the vocals and guitars following the same melody is really effective in making the song sound a bit odd. Unfortunately this is probably one of my least favourite songs on the record, but the strange tone does add something to the sombre feel of the following track, To Remember. Lyrically, Descendents may seem very surface level a lot of the time, but they always drop at least one deeper, slightly melancholic banger. To Remember has a fantastic chorus which pulls on the heartstrings.

As quick as they grew up and wrote something deeper, they come back down with Yore Disgusting – ‘You’re disgusting/you’re like the head of a dog/you’re disgusting/you know you look like a hog’. Classic. This is followed by It’s My Hair, another straight up punk song about doing what you want with your hair. I couldn’t help but feel like the record was winding down by this song, and there’s still 3 to go.

I Need Some has some nice vocal moments, especially in the chorus and, to be fair, with some more typical Descendents flavour, it could have appeared on Cool To Be You (Fat Wreck Chords, 2004). Ride The Wild isn’t bad but feels like it’s been shoved at the end because it’s not bad/not good. The final song is a cover of Glad All Over by The Dave Clark Five which they actually do a stellar job of performing. A very pleasant end.

After being quite skeptical about how good this record could be, 9th & Walnut was a surprisingly good listen. There were no massively standout songs, but it’s fairly solid throughout and there was some fantastic moments particularly with the bass and vocals. To say that 3 out of the 4 members were 17–18 years old at the time of writing these songs is absolutely crazy and goes to show why Descendents have become one of the most loved and respected punk bands of all time.

Stream and download 9th & Walnut on Bandcamp here.

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This review was written by John O'Hare.