spent the remainder of the night "walking around feeling lost". The power pop song includes drum and guitar loops, and is bookended with a drum intro and outro, which were made by Trombino cutting up the drums. According to Lind, "Your New Aesthetic" was originally a "very mellow" song but was turned into "a more aggressive, dark rock song". This version was named "Skeleton" because the guitar sections between the verses felt like horror film music to the band; it had different lyrics but Adkins thought he could improve upon them, and changed the lyrics to those of the mellow version. The final version is about the commercialization of radio, and unabashed conformity, showcasing the band's punk roots. "Believe in What You Want" is a Police-influenced post-punk track that talks about keeping in mind what is important to one's self, and not getting stuck with unimportant matters. Part of its lyrics refer to dealing with the process of being on a major label, influenced by their interactions on Capitol. On "A Sunday", the band focused on making the chorus sections sound softer and more intimate than the verses. Adkins felt the song's slower tempo helped let the "drums breathe". He wrote it after driving home to Phoenix following a weekend seeing his friends, while reminiscing about a girl. The track includes a Hammond B3 organ, which the band borrowed from Sylvia Massy. Lind theorized Adkins wrote "Crush" when he was living in Flagstaff, Arizona, due to the reference of snow. The title of "12.23.95" is a reference to Little Christmas Eve; it was made in the living room of Adkins' parents' house, consisting of a drum machine, and a tiny recording set up. Lind went round with a Dr. Rhythm drum machine while they were demoing material. He began pressing buttons, the drum patterns played at random. The band wrote music around it; the droning guitar that is heard was made by Adkins as he was playing the guitar tracks backwards, recording them on to a separate tape, and adding them back in. While in the studio, the band were unable to come up with a better drum sound, and ended up using the one from the drum machine. With "Ten", the band opted to use different drum set ups for each section of the song, as they had done with "Lucky Denver Mint". A loop is featured throughout the