Helmed by multi-instrumentalist Chris Dicksheid, Side Project Skip’s debut EP ‘Fast Falls & Hard Landings’ – released in 2021 – found the sometime Mediocre Friends musician sidelining the sounds of late 80s college rock and exploring retro sounds of another kind. The recordings presented stripped back semi-acoustic material that had a very DIY feel, but at their best – as heard on the very strong ‘Sunsets On Rooftops’ – a love for bands like Toad The Wet Sprocket was evident, creating an intimate listen that shone a light on Chris’s songwriting in a pleasing way.

Four years on, the second Side Project Skip EP augments most of the material with electric elements, providing more of a link between ‘Fast Falls’ and The Mediocre Friends. This is potentially a good move, since it could appeal to a broader audience, and particularly those who love the sounds of the mid 90s. It’s not a complete shift, however: playing like a continuation from the debut, ‘Dearest Friend’ presents just voice and acoustic guitar, joined by a few distant sounding harmony vocals. The homespun sound of the recording really captures an honest feel and, more than before, there are moments where Dicksheid actually sounds a little like a rough version of John Hiatt. On this personal piece, he uses his natural tones to power a strong narrative where the protagonist presents feeling of unease and suggests a possible mild depression is being like in the middle of an ocean with “lights going dim”, before dedicating the song to a friend who’s had a “firestorm in [their] head”. Despite some heavy messaging, there’s an assurance that everything will be okay, ultimately sharing a voice of positivity in the hope that some listeners will take comfort in the words of support.

For those not really into deeper lyrical elements, the rest of the material comes with a musical punch that works, regardless of any message based material. An instant standout, ‘Ghosts In The Chair’ brings together a pumping bassline and chopping rhythm guitar to create something vaguely Soul Asylum-esque for its punchy verses, but it’s when hitting the chorus that this number really springs into life. Trading in a little of the punch for a brighter sounding riff, everything shifts from being college rock inspired and further into the realms of 80s power pop, with a great sounding guitar part joined by an unexpected, flowing piano line. Proving that working largely alone and with a small budget doesn’t mean everything is hacked out or needs to stay as a demo-like sketch, the middle eight is equally cool, with Chris adding a few chords that sound like something on loan from ‘All Shook Down’ era Replacements. For fans of a melodic and vaguely alternative 90s sound, this is a must hear.

The opening acoustic strums of ‘Hero’ return to the sounds of the debut, but a warm bassline offers a more confident sound, whilst Chris drops in with a raspy vocal that shares a melodic DNA with a couple of tunes from the self-titled Billy Pilgrim record. The melodies here are fairly simple, but Chris keeps things interesting with the help of a wordless vocal used as a chorus hook and by adding a few deep sounding drums for a dramatic punch. A few listens in, this track sounds even better; the marriage of those drums with some twin guitar really catches the ear, despite the number working a rather slow burning melody. Introducing electric elements for a big climax, this is rather more about mood than some of the Skip material, but it suggests that the performer has really grown as an arranger in the past four years. Rounding out the release ‘The Lost Generation’ works around a very busy acoustic strum, whilst a soaring electric guitar drops in with a subtle, yet effective counter melody. The arrival of a harmony vocal makes parts of this track sound even more like Billy Pilgrim than ‘Hero’, but Chris ensures things never become “samey” by filling the chorus with a huge, overdriven riff that owes more to a post-grunge sound. This actually provides the perfect compliment for a raw, aching vocal where the anguished performer calls out for “a mother…a sister…just someone to care”. Cranking that riff a little harder, the end of the track finds Chris in full rock-out mode, perfect for the rousing gang vocal calling out for titular “lost generation”.

Looking beyond the self-depreciating band name, ‘The Friday Night Detour’ is a solid listen. In a little over a quarter of an hour, Side Project Skip shares pretty much the full range of Chris Dicksheid’s musical talents, shifting from the quieter acoustic sounds to full scale retro rockers with ease. He isn’t the best singer, but there’s something about his slightly gruff vocal that adds an extra layer of honesty to the material in hand, resulting in a short collection that’s really heartfelt.

September/October 2025