Thom: "It was quite weird. That song's been kicking around for a while and I not really thought about how violent the images were for ages, until we came to trying to put the record together working out where it went. And I was also typing up the words for Stanley. And suddenly I was like 'wow, this is pretty bitter stuff'. You know, all the stuff about 'cold wives and mistresses, cold wives and sunday papers, city boys in first class', all that stuff. I was like 'bloody hell, that's pretty serious'. I guess it's just very, very angry, cause I couldn't help it, really. A good place to put anger in is in music. I think better than a lot of other places. But again, the crazy thing about it is, I'm only able to put the anger in that song, because the melody itself is so sweet, you know. Jonny wrote this really sweet guitar melody. Where the words came from was just... that's just where they came from. I mean, it wasn't... I wasn't even thinking that I was angry. I mean, I was just feeling like I was going a bit mad. So, I'm used to that now, I go through phases like that. But that was a particularly bad one. But you know, we were kind of reluctant to put it on the record for ages, because it was just so... we end every record with a nice sort of ending. But really, this wasn't... the whole atmosphere and where this whole record comes from, is not that. It would have been false to do that. In the record there's a lot of sort of fairy tale, children's story things going on in it. And then that one at the end... again, it's obviously a wolf at the door and so on, but it's kind of the most sort of ordinary life, realistic place in the whole record. And it's sort of like waking you up at the end, really. And waking you up is something really not that pleasant. Rather than waking you up and it's like 'uhh, it's all been a lovely dream'... no, it's all been a nightmare and you need to go and get a glass of water now. You know, that's kind of what it is."