Home · Songs · Underworld · Born Slippy .NUXX
From album
Second Toughest in the Infants
Underworld
Details
TonalidadA#
Compás4/4
Tempo92 BPM
Duración7:36
ÁlbumSecond Toughest in the Infants
ISRCUK7EF9500001
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The story behind
When you dive into *Born Slippy .NUXX*, you encounter an energy that immediately grips you. The rhythmic base, with that kick drum that seems to hit relentlessly, propels you forward, while the distorted vocals and synthesizer chords create an atmosphere that evokes something almost celestial. It's a piece that, as they say, was born from a night of drinks on Wardour Street in London. The lyricist, Karl Hyde, was inspired by the conversations he overheard in bars, similar to how Lou Reed captured the atmosphere of New York in his 1989 album. He also found an echo in the vignettes of Sam Shepard's Motel Chronicles, which capture moments and sensations without a clear beginning or end. Hyde began documenting his surroundings with a notebook and camera, and in that process, he wrote about his struggle with alcoholism, seeking to reflect how a drunk person perceives the world in fragments, retaining only small parts of memory. In that search, he reduced himself to "a piece of meat".
The recording of Karl Hyde's vocals was done in a single take. If he missed a line, he repeated the same phrase, leading to that iconic "lager, lager, lager, lager". The producer, Rick Smith, described the lyrics as a reflection of "this energy of movement, and of time and place", comparing them to an abstract painting. Although some interpreted the song as a celebration of debauchery, Hyde's intention was rather a "cry for help", and he found it ironic that the audience raised their beer cans during performances. The piece was originally released in May 1995, as the B-side of another track, and did not generate much attention. However, everything changed when it appeared in the film *Trainspotting* in February 1996. The director, Danny Boyle, described it as the "heartbeat" of the film, capturing its "euphoric highs after intense lows". Despite Underworld initially hesitating to grant the rights, Boyle convinced them. The single's relaunch in July 1996, boosted by the soundtrack, took it to second place on the British charts. It was a moment that surprised Rick Smith, hearing it on the morning radio, and he interpreted it as a sign that music and culture were evolving and expanding beyond clubs.
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