Let’s be unconventional here and start at the end of the song, which loops perfectly back into the beginning, giving you the idea that if you let them, thoughts of longing for things beyond your grasp, like a car or death, can keep circling around your head like dirty water around a drain. And you will keep circling back to them. It is just human nature, expertly mimicked by the cyclical production of the music.
The grass always looks greener on the other side, they say, but Sluggg says that he cannot even see the other side and cannot do anything but long for things he does not even know he wants. All the while, the guitar riff that jump-started the song, climbing in a way that sounds like wanting or asking for something, lurks in the depths of the production all throughout the song, reminding you that the infrastructure is predicated on facile yearning. You are always wanting something. It is just a matter of the object of longing.
The electronic side of the production sounds like something trickling, which then develops into a kind of tapping, idly on a surface of some kind, which backs up the apathy and disinterest in sluggg’s vocals. He is longing, but the longing has surpassed actual interest in the subject. It has persisted so long that he is numb to it.
The song is one long yawn that disrupts a fit of crying – undermining it – both the sadness of knowing your life is missing things and the lack of effort to be a go-getter. Just like how sometimes you wish you were dead without having to be killed. That’s incidentally the only point of the song where Sluggg snaps out of it, the stupor: when he realizes that “wanting to die is a bit too harsh,” for him. And he goes back to asking for a car and a better mind. In a “squint-and-you’ll-see-it” kind of way, the song ends on a hopeful note: having a car and a better mind and not wanting to die. Cheers.
Written by Leo August
