What happens when you pair a veteran of the Montreal pop‑punk scene with the longtime bassist for Sarah McLachlan? You get SLIP~ons, a Vancouver four‑piece that approaches rock and roll like a sudden‑death overtime period: no filler, no wasted motion, just pure adrenaline.
Their sophomore EP, Overtime, officially dropped , February 20, 2026, via Scamindy — a tight, explosive collection that captures a band playing with urgency and purpose.
Order SLIP~ons music and merch: https://slipons.hearnow.com/overtime
The Sound: 90s Heft Meets Power‑Pop Precision
If you miss the muscular grit of Sugar‑era Bob Mould, the urgency of Hüsker Dü, or the bourbon‑soaked swagger of The Replacements, SLIP~ons are speaking your language. Their sound is a collision of melody and muscle — tight, tuneful, and built for volume.
The lineup is a Canadian indie “who’s who”:
- Brock Pytel (Doughboys): Vocals/Guitar
- Brian Minato (Sarah McLachlan): Bass
- Rob “Shockk” Matharu (The Spitfires): Guitar
- Shane Wilson: Drums
“Sudden Death” Songwriting
The title Overtime isn’t just a hockey nod — it’s a metaphor for those high‑pressure moments where instinct takes over. Recorded at the historic Afterlife (formerly Mushroom Studios) with producer John Raham, the EP captures a band trusting their gut and playing with sharpened focus.
More Read
This isn’t your typical breakup record, either. “I made it all the way through side A without a single song about a breakup,” Pytel jokes. Instead, the lyrics lean into lived experience, subtle politics, and emotional honesty — all polished with a gritty edge by legendary mixer Dave Ogilvie (Skinny Puppy) and mastered for maximum punch by Ronan Chris Murphy (King Crimson).
From Ashrams to Amplifiers
The road to SLIP~ons was anything but predictable. In the late ’80s, Brock Pytel was at the center of the punk whirlwind with the Doughboys before stepping away entirely to study Vipassana meditation in India.
That decades‑long journey — from drum kits to ashrams and back to the stage — has shaped a rare kind of musical maturity. SLIP~ons don’t chase trends; they chase chemistry. And after honing that chemistry since 2012, the band is hitting harder than ever. Their previous release, Heavy Machinery, earned international acclaim and CBC airplay, and Overtime proves they’re only accelerating.
Interview with Brock Pytel
To celebrate the release of Overtime, we sat down with SLIP~ons frontman Brock Pytel to talk early influences, disastrous gigs, creative process, and the winding road that led him from punk stages to meditation halls and back again.
What first got you into music?
My earliest musical memories are jumping up and down on the chesterfield in my childhood home while listening to my mother’s records. She’d be in the kitchen and I’d be going off to Simon & Garfunkel. Parsley, Sage, Rosemary and Thyme was a big favourite. I later took piano lessons and started singing along to Kiss records, followed by hitting stools and pillows with drumsticks.
What’s the worst show you’ve ever played?
This is probably a toss‑up between a Doughboys/Nomind show in Kitchener‑Waterloo and a SLIP~ons set opening for Bison at the Rickshaw. In Kitchener, I made the mistake of smoking hashish with Paul (Newman) before our set and lost all awareness of passing time — which is bad for a drummer. I was probably speeding up and slowing down like Keith Moon on chemicals. It was the last time I ever consumed ANY intoxicant before a Doughboys set.
At the Bison show, I attempted a punk‑rock jump off Shane’s drum riser and landed badly on a wedge, which tipped and sent me sprawling. Lying on my back, I thought, “this is fine, I’ll just keep playing.” Unfortunately, my headstock had hit something and I was WAY out of tune. It was my NST‑tuned guitar, so there was no chance of recovery. To add insult to injury, one of my former neighbours came to the front of the stage at that exact moment to give me the finger.
Is there a city or venue that holds special significance for you?
There are a few. Playing in NYC is always significant, and I was lucky enough to play there several times with Doughboys. But for me, Minneapolis holds a kind of Holy Grail status because of Hüsker Dü, The Replacements, and Soul Asylum. First Avenue and 7th Street Entry is the pinnacle — it’s where Prince and The Revolution battle Morris Day and The Time in Purple Rain.
What kind of recording setup do you have at home?
I have an old iMac and a Focusrite Scarlett interface. I used Pro Tools for the longest time, but I’m currently working in Logic Pro. I don’t do much production at home aside from the odd radio station ID.
Most SLIP~ons songs start as voice notes on my iPhone. Rob and I send each other ideas, and if I really like one, I might do a quick demo in Logic. From there, we try it in real time in our rehearsal space with guitars on.
Do you plan your releases, or do you finish a song and put it out?
We do a bit of both. As a band, SLIP~ons are pretty slow and thorough with new material. Lately it takes us about two years to put out a new record, so sometimes a digital single makes sense if we’re far from a full release. Now that we’ve pulled our stuff off Spotify, I’m not sure about digital singles moving forward.
If you could pass on one piece of wisdom to the next musical generation, what would it be?
I’m not sure I’m qualified to give advice, but I think it’s important to follow the music where it wants to take you, regardless of trends. We’re all influenced by our surroundings, but the world is constantly changing. Getting too comfortable with any particular sound or time or place goes against that. No risk, no reward.
If you were a tree, what kind would you be — and why?
I like to think I’d be a Banyan tree. They live a long time and have roots that are deeply interconnected. They send off shoots that eventually go into the ground and become another tree.
What’s your favourite sports team?
I’m a full‑on baseball fan — my team is the Seattle Mariners. I moved to Seattle from Boston in 1995 and learned too late the saying, “If you move to Seattle, bring your friends with you.” Baseball became a way to connect with people. My boss had season tickets, so we’d sometimes leave early and catch the 3pm “businessman’s special.” His seats were down the third‑base line in the Kingdome, and Jay Buhner would be right beside us in right field. That year created some deep baseball conditioning.
If you wrote an autobiography, what would the title be?
Bad Decisions, and How to Survive Them?
What would be the theme song of your life?
Probably “Big Bright Green Pleasure Machine” by Simon & Garfunkel (1966). Although “Ruby Tuesday” was the number‑one song the day I was born, so that would be a solid choice too.
SLIP~ons Online
WEBSITE | INSTAGRAM | BANDCAMP | FACEBOOK | TWITTER | TIKTOK
