The important shift is I → YOU
Peak Arousal is unusually first-person heavy. LTAP and LP/DS reverse the balance: second-person forms exceed first-person forms. The later songs therefore spend less of their grammatical energy establishing a speaker and more of it establishing a relation.
“You” is a role, not a biography
The addressee can be lover, rival, stranger, customer, self, listener, dead person, suspect, friend, public or institution. This is why the counts belong beside The Variable Speaker: pronouns describe positions inside the utterance, not a stable map of real people.
Imperative grammar returns on LP/DS
A conservative first-word heuristic finds command-like openings sparse on LTAP and substantially more common on LP/DS. The later songs repeatedly use go, come, get, look, speak, wake, take, keep, drop, make. The lyric does not merely display an image; it attempts to alter another position.
Tenderness and threat share machinery
This creates one of the stranger recurring effects in the songs. “Come here,” “go home,” “look at me,” “don’t look,” “you were intended to survive” and similar structures can be care, seduction, humiliation, banishment, warning or threat depending on context. Tenderness and menace both require distance, attention, permission and future action. A useful category is therefore interpersonal pressure, not a binary love/violence split.
Operative versus emblematic lyric
LTAP often behaves emblematically: it presents the charged object. LP/DS more often behaves operatively: it does something to somebody. Both modes remain available, but the balance changes.