“Driving high on the interstate / 95 I don’t want to wake up / I don’t want to be me” opens the song with the kind of dissociation that only happens at highway speeds, where motion substitutes for decision-making. Arts Fishing Club frames “Feed Me To The Wolves” around the accumulation of tiny betrayals—the small deceits that compound over years until you’re “40 years on its head / Flip it over then you’re dead / Whatchya gonna choose?” The wolf metaphor shifts meaning with each repetition: first a plea for consequences, then a warning against them, finally collapsing into something closer to prayer than protest.
Understanding “Feed Me To The Wolves”
The band describes the song as confronting how “sitting in a space of indecision is one of the biggest recipes of ultimate regret,” which explains the mile-high perspective that looks down at “golden veins across the ground.” Altitude creates distance, and distance enables avoidance. The lyrics toggle between first and second person—”I don’t want to be me” becomes “all the questions in your head”—suggesting the narrator can’t decide whether they’re the problem or just observing it from above. “Broken bottles, empty laughs” and “streaking lights across the glass” pile up sensory fragments without forming a coherent narrative, which is precisely the point. Indecision doesn’t build toward anything; it just accumulates debris.
The repetition of “feed me to the wolves” across the final minute transforms the phrase from imperative to mantra to something approaching acceptance. Arts Fishing Club treats the wolves not as punishment but as an inevitable conclusion to decades of tiny choices that weren’t really choices at all. The band’s advice to “find the truth within and act on it” sounds clean on paper, but the song documents what happens when you don’t—when Interstate 95 becomes the only place you can think clearly, and even then, you’re mostly thinking about not thinking.
For another look at calculated self-destruction, check out The Winter Sloths’ “Closer and Closer”
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