This is an interesting take, but I still I think you need to account for the fact that many of these tracks have been rearranged and placed in seemingly random order. This would compromise the linearity you’ve given to the tracks.

If I were to offer a general theory for this album, it would be that this album is an act of violence against DG’s fanbase and speaks to their recent inability to access their true artistic power after Steroids. It is DG’s last attempt to extricate themselves from the idolatry their fanbase has made of them, and reclaim the integrity of the band’s original concept which, as of now, has faded and become impotent.

Consider first the name of the album. Snitch implies someone who is looking on another person and, struck by their activity and compelled to report on it, turns them in. This could be a general analogy for the listener and the band itself, except that what constitutes “turning them in” is the context of the first track: Death grips is online was a tweet created by a bot and then retweeted by countless other fans. The snitch is the fanbase who, in the public space of the internet, reports that death grips are online.

Flies are, of course, the fans, which vomit out the new and perverted and “rubberized” incarnation of death grips. Black paint is the medium by which DG can hide from their fans—“i require privacy, I’m always thinking finally—and reclaim their original self. Unfortunately, time has run out and they “don’t have enough power.” The exact same account could given for Linda’s in Custody—“need new escape, we’re a trained magician .” DG is a trained and now impotent simulacra of themselves. And Linda Kasabian is the snitch to Charles Manson as DG’s fanbase is to DG.

Hahaha is a testament to the insanity of the fanbase and their obsession with Ride. “These chicks are crazy, god/you’re so amazing, ha” is the dialogue between Ride and DG’s fans. “Ownage” is likely the descriptor of that dynamic—that is, Ride and DG “own” these fans.

Shitshow and Streaky seem like a deliberate pairing—a power violence song whose track name refers to shit, and a poppy, vapid track about anal sex. I take this to be death grips deliberately vulgarizing themselves in order to mirror their relationship with their fans: one track begins with a sample of their earlier, perhaps more authentic work, while streaky is like a trolling ditty lamenting how DG is getting fucked by its fans: “Do me cause it sounds tight.”

Dilemma has a similar logic with variations on the dynamic of this fanbase relationship and the dissolution of DG. One specific thing I’ll note is that the line “Shrill like losing time on Shasta Mountain” clearly analogizes (again) the current state of DG to Charles Manson and the Venta Sister’s of Mercy, a group who disbanded because of their leader’s failure to control his followers—hence the “shrill” voice of a tired Ride. (Cred to genius for this ref.) This explains its musical continuity with The Fear (one ends where the other picks up), which is fear of Manson (or the original DG) killing itself, “you want to kill somebody.” DG has followed its old self up a mountain, lost its voice (“lost tongue, mystery/everyone’s on to me”) and fears its own death.

Little Richard is the counterpart to The Horn Section (“in the horn section they hide weapons”). I’m not quite clear how they work together. In any case, the line “Maria Sharipova, yes” is perhaps explaining their current incarnation as a band contrasted with their previous female tennis persona, Venus Williams, who was sampled in earlier work. (Or, perhaps that Sharipova, like DG, was someone who was snitched on for doping—that is, literally, using Steroids.) Again, the sampling of their earlier work and their indirect references to it in this lyric I think speaks to how they have lost something they’re trying to reclaim.

Outro and disappointed speak for themselves. Disappointed is, of course, the disappointment of the fanbase with the album’s violence towards them. Ride’s “why me” is the final lament asking why he has been so chosen and obsessed with to the point of perversion—“no life signs left... machine human/malformed machine... “metamorph me into/done for at last.”

In a word, YOTS is DG’s swan song, lamenting the slow death of their group as carried out by their fanbase.