pleasures to see Space fans happily bop along whilst singing lines like 'Kill me, kill me/Oh won't you kill me,'" adding that "if the music sounded like some of the lyrics, I'd probably kill me-self. I like seeing your average grandmother or mum on the street singing along to 'Mister Psycho' but not realizing she's singing a song about a psychopath." Fearing some might misinterpret the lyrical intention, Scott affirmed "it's not done in a macho way. We're not trying to be macho, saying that we're tough. We're not like that. I grew up on films, watching films, so that's all that's in me mind. All I'm doing is telling little stories." Griffiths explained, "some of it's like cartoon humour, where you get hit by that big mallet but still get up and walk away." Structure Opening song "Neighbourhood" is an "exotically-flavoured show tune" which features elements of "spy theme music" and a "mish-mash of styles". The song's lyrics concern of characters in the "neighbourhood" such as a "local tranvestite", a serial killer vicar, "the big butch queen" and "the folks who make a living off of crime - but are never there because they're all doing time". "Mister Psycho" features "bizarre faux-Spanish accents", whilst "Female of the Species" is an "ode to a female lover who practices witchcraft". Andy Parle said "I think we would all agree that females have more intelligence than males. And that's what makes them more dangerous." The "goofy number" has been described as "Burt Bacharach meets alternative lounge music" which is "sprinkled with some xylophones" and contains a background of "Mexican cha-chas". "Money" is an oom-pah-inspired track with a vocal delivery derived from Kurt Weill and Bertolt Brecht's The Threepenny Opera. "Me & You Vs the World", with lyrics inspired by 1994 film Natural Born Killers, is said to emulate the "early British pop of the 60's in that same vein as the Kinks and Herman's Hermits". Reviewer Todd Martens, who called it the "most pop-infected tune on the album," described the song as a "sweepingly cinematic coming-of-age tale about two star-crossed lovers turning to crime easily breaks free of conventional pop form without disrupting the song in the slightest. Scott lurches into a spoken-word verse when the narrator gets shot, and the music all but stops except for a hazy and slow pulsating techno throb. The guitars suddenly rise at just the right