Song Definitions

According To The Band...

''Becoming X - The Album''

Liam Howe: ''The symbol X is one of the most abused symbols in 20th-century culture. X is a variable in mathematics, meaning that it's a substitute for whatever you like. So there's that instant ambiguity and when we were in America, someone said that it could be a cross. Then someone else said it was a kiss. Plus there's Generation X, and Malcolm X, and on goes the list''


''Low Place Like Home''

Liam Howe: ''This targets a particular breed of person, but has a universal sentiment sent out to anyone who has fucked you over. Sometimes it's about an eternal victim of magazine propaganda, problem page wannabees, designer troubles. I've got no sympathy. No one is listening''


''Tesko Suicide''

Liam: ''Magazines make monsters. Go on girls you know fulfillment starts with blind independence''

Explanation 2: The track was inspired by a drunken argument Liam and Kelli had about the glamorization of suicide, where Liam suggested that suicide kits might as well be available in supermarkets.

''6 Underground''

Liam Howe: ''At the same time, the most self critical and arrogant song on the album. A complex introspection into personal ability. The occasional burst of brilliance followed by the frustration of mental drought. The struggle with needing people you could easily hate and having to choose something you don't want''

''Becoming X - The Song''

Liam Howe: ''Consequence of wanting to be something to anyone; an audience, a friend, a lover. Are emotions a priority or consequences of other existences''

''Spin Spin Sugar''

Liam Howe: ''12 lines to capitalism and consumerism. The sheer sleaze of life is helped down with a spoonful of satellite TV and a skinful out on the town. Sell me something else. Give me what you say I want, not what I need. It's impossible not to play a part in it''

''Post-Modern Sleaze''

Liam Howe: ''The re-introduction of sleaze by a conceptual mechanism that turns a once cultural weakness or symptom into a cultural affirmation of power. How many re-inventions can we take? Ironic sleaze? Irony is post-modernism's excuse to shit out anything it wants. Time to wipe its arse''



Liam Howe: ''A slab of self loathing. Not just living the worst kind of life, but actually nurturing it, caring for it. Complete dependence and desperate need. What is done is done - a little water clears us of this deed''

''Roll On''

Liam Howe: ''Sink With Me, an invitation to the content of the album. A puzzling parallel between the gravity of sex and the ill fates Roll On Roll Off ferries. Promiscuity, satisfaction and disaster''

''Wasted Early Sunday Morning''

Liam Howe: ''The title is taken from a Robert Lowell poem, but the song owes little to it. Every Sunday is less like the start of a fresh week and more like the end of another week with nothing done. The day or rest is a real effort - too much time to think of nothing. It's a question of what you put your faith in to get through it. Dope? Booze? Bird? Not gender specific. How do you get by? Nothing really helps''


''Walking Zero''

Liam Howe: ''A sadomasochistic obsession on a national scale. The disease of a nation, the disease of an individual, compromised and sacrificed in private and in public, 1979 - 1996. Morality as a poison not cure. See Plato's Pharmakon)''

''How Do''

Liam Howe: ''The last tune on the album, How Do, is a cover tune from an old 1973 British horror film called The Wicker Man. The song actually features a sample from the film with Britt Ekland. We had to ring her up to get permission to use her voice. I've actually got the piece of paper she signed giving us permission to use it''

''Half Life''

Chris Corner: ''Half Life is about past relationships, your sexual history, talking about how losing someone is like having a limb chopped off, then having a phantom limb and getting an insect sting on that phantom limb''

''Low Five''

Chris Corner: ''It's an anti-corporate anthem; its about how we hate American-ness. It was exciting going there, but I couldn't handle it. This is a statement that we are going to be English. Lyrically, it's not sensational. We talk about ordinary things. We're European and this is a European record''


Chris Corner: ''It plays with androgyny and incest. I think that the reason for love is that people want to become one person, this super androgynous person. It's a personal things, I don't want to sound like a pervert... erm.. okay. It's about a specific person that I am in love with. It's about wanting to become that person, wanting to be inside that person, to be everything to that person; brother, father, mother.. everything''


''Cute Sushi Lunches''

Chris Corner: ''This song is about uncomfortable situations - being taken for Sushi in L.A. for the novelty, being in this cold, awkward situation you really don't want to be in''

''Kiro TV''

David Westlake: ''Kiro TV opens the album and it's a song the group feels sets the tone for their current sound. Appropriately, it also opens Sneaker Pimps live show. "It's like an electronically controlled version of a punk song. It's dirty and dense, similar to Tesko Suicide from the first album. It works really well live. Tragedy is far more interesting than success. Tragedy resolving into happiness is very Hollywood but the European way is wallowing in tragedy. That’s the way art is. A happy ending is not really the truth. We made the track about people’s reaction to stardom. It doesn’t actually make any particular comment about Cobain but just referencing it. I wouldn’t want to put the back-stop to the Nirvana world - there’s too many out there!''


Liam Howe: ''Sick is an up-tempo anthem about identity, says Howe. "It's about reinventing yourself because you feel people get bored or sick of you too quickly. In a relationship, when it's going down the tubes, you try so hard to be attractive to the other person and you contort your identity to please them."

Chris Corner: “I think that’s our idea of pop. There just doesn’t seem to be anything like that in pop music and it really confuses me why because people would seem to like it''


''Small Town Witch''

Liam Howe: ''Underneath the floating melody of Small Town Witch, you'll find a story of small-town resentment. Me, Chris and our mate Ian Pickering grew up in the northeast of England and there's a feeling of anti-success in these small towns. We used to go back quite a lot and people sometimes resent any success you may have. It's quite bizarre''



Ian Pickering: ''Polaroids is harsh and beautiful - slacker boy, domineering mother. Ring any bells, Amy Girdle-stone at your most hormone replacement therapy nastiness?''

David Westlake: ''Laurie Anderson meets Cyndi Lauper meets O.M.D. meets The Undertones. Or some such crap... that’s the kind of talk P.R. people come out with. It’s a good tune, it’s up-tempo, it’s pop music. It’s the first ever time all four pimps sang on the same song, even the straw-haired drummer.''


''Loretta Young Silks''

Liam Howe: ''There is a tune on the new record called Loretta Young Silks after the practice, invented by her cameraman, of placing silk stockings over the lens to achieve a soft focus. The song is about vanity and soft focusing yourself and, as such has nothing to do with Loretta herself but out of idle curiosity we went on to the official Loretta Young site and downloaded a pic of her that looked back at us every day. Sneaker Pimps do not believe in the predestined but there was something pretty spooky about the fact that she died the very day we left the house. I think in that way we are quite obsessed with tragic forms like Loretta Young; she was someone opposite of the character she portrayed''

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