Track By Tracks: SLIP~ons - Overtime (2026)

1. Overtime:

Musically: Syncopated riff in G minor and guitar 2 pulses on the quarters. Drums straddle both parts with bass. Everyone comes together for the chorus which is still minor, but sounds major

Lyrically: Part eulogy to my friend Robbie, part shadow of war, all squashed into an extended hockey metaphor. Time to choose a side.

2. Waiting for Johnny Marr:

Musically: “Hey, that kinda arpeggiated riff sounds like Johnny Marr”! Classic one>four major>four minor progression in the chorus.

Lyrically: What if Johnny Marr were a superhero? He’s so cool that nobody could possibly have a problem with him, and maybe we wouldn’t have fascist leaders launching missiles.

3. New Answers:

Musically: dips into stoner rock territory a bit. We broke the original riff into two parts: Brock chugging C/G harmonics, Shockk arpeggiating. Shift to relative Eb major in the bridge sounded so good, we made it the intro as well.

Lyrically: trying to make sense of what is going on socially and geopolitically. Which parade are you going to: the one with tanks and troops or the one with thousands of citizens protesting?

4. Hands Up Don’t Shoot:

Musically: one take spontaneous voice and acoustic guitar iPhone recording from the couch with the TV on mute.

Lyrically: what the protesters at the White House were chanting while confronted by guns, uniforms, and riot shields.

5. Graystone:

Musically: Main riff inspired by early Motor City Midwest sound (MC5, Stooges) or Aldo Nova, depending on who you ask, with an unintentional nod to Billion Dollar Babies for good measure.

Lyrically: Ode to an 80’s Detroit punk rock venue with a storied past. Combined memories of myself and my Doughboys bandmates, Scott McCullough and Jon Bond Head.

6. Nerve Damage:

Musically: both verse guitar parts from Shockk via voice memo on iPhone and developed in the space. Tag team pre-chorus riff also from Shockk. Great push from Shane’s tom beat in the “it’s not me” pre-chorus.

Lyrically: that awkward post-breakup phase when you share a lot of friends with your ex but need to sort things out on your own. Double-meaning extended metaphor on neuropraxia because I was recovering from surgery when I started writing.

7. Fading Smile:

Musically: Another point-counterpoint with an arpeggiating guitar part on top of the power chords guitar. Big shift to relative major key in chorus, followed by a little tip of the cap to Rush with the suspended F# chords.

Lyrically: possibly the next stage of grieving after lyrics in 6 above. Resigned. Accepting loss. Moving on, but looking back over your shoulder.

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