#to the tune of sketchy galore: meta galore

[f-117-nighthawk]

More playlist meta bc I don’t wanna do homework and Jimmy kicked me out of the TA room saying I’d been in there for far too long for a Friday (it was four hours! Interspaced between classes! Workshop kit inventory is just an excuse to blast Gloryhammer to me, it’s fun)

Since I was talking about Ten Thousand Against One earlier, I’ve been thinking about the timeline and which event the songs are connected to. Long post under the cut

Turn the Lights Out is... sort of an odd case. It’s not like Remnants of Stars, which is about Galran and my philosophy about how we were created, what happens to us when we die, and the cycles that power the universe. Of course, Remnants of Stars is a little more than just philosophy. It actually describes (in a rather metaphorical way) the actual process of the marthinazik filtering quintesence into new stars, planets, beings, anything you can think of. It also has a very important lyric for much much later like, post Sticky Notes later. Now that I think about it, it actually defines a good chunk of that maybe-sequel-maybe-idea era in conjunction with Soul Extract’s Filaments. 

Anyway, back to Turn the Lights Out. It’s an odd case because it’s sort of like Remnants of Stars in that it’s more about the philosophy, but it’s before Remnants of Stars because it’s also kind of an event. If you read interviews with Delain about Moonbathers, Charlotte states that Turn the Lights Out is about Neil Gaiman's Sandman comics, specifically the character of Death. I confess I haven’t read those comics, but my interpretation fits her rather well I think. To me, Turn the Lights Out is about a gentle god who accepts they will not always be seen as who they are but will give their everything to protect those within their universe. Now, who does that sound like? Which characters have been around since the birth of the universe, under various names, whether they be Ibeshganszá, ‘kibrraldíl, Marduzbazí, or Vôltrôn? 

You can make an argument for Your World Will Fail to be directly after Turn the Lights Out, but I rather like it after Remnants of Stars too. Turn the Lights Out is the beginning of the universe, so naturally, it goes first. Sentient life needs to evolve for Remnants of Stars to truly fit, and even though Your Would Will Fail technically can happen at any point between the first Plank time and the next, it also happens when the comet that becomes Voltron crashes into Daibazaal. The Your World Will Fail/Dark Matter/Eater of Worlds trio is both a general, entire timeline-spanning idea, and a specific event. 

(Your world will fail my love/It's far beyond repair/Your world will fail my love/It is already there)

(Bring me your soul/Bring me your hate/In my name you will create/Bring me your fear/Bring me your pain/You will destroy in my name)

(Can't imagine the violence/The rage and the love in my madness/I am the eater of worlds and I'm looking for someone to feed me)

And then, right after that event, or even during, you have Apocalypse 1992. The death of the dream, the final madness before the triumph of chaos. 

You Keep What You Kill is very much the odd one out out of everything. Helion Prime based it off a book I forget the name of, but here it’s purely about Zarkon’s empire. The “Holy Half-Dead” have lost so much of their culture, of the family bonds that kept them together even when their mistakes threatened the destruction of all, but they still remember the songs of glory. And they do keep what they kill. 

And then there’s a rather large time jump of about five thousand Earth years to The Seven Sisters. This song is pretty well encapsulated in Child From the Stars (Lost in the Dark) (which is a lyric from Closure, but Closure is later for Reasons), but the other half of it is connected to Memories of a Girl I Haven’t Met.

Who Will Save You Now has gone through so many iterations of what it’s connected to I honestly don’t remember what it actually is anymore. Given its placement between The Seven Sisters and Nobody Gets Left Behind, I think it’s related to the SFSS Genesis’s disappearance. But it could also be placed in conjunction with A Simple Plan and be about something slightly different...hm, I’ll think on that. This song has such a Dark Matter vibe to me, but it hasn’t found a home that sticks in my brain yet. 

Nobody Gets Left Behind is really there bc it’s a fun song and when I found 1551 I immediately had to put something in. BUT it is a good song about family dynamics and, well, that’s Voltron in a nutshell right? (and then you get, right there in the first verse, “Don't even try to pretend/That you're rough and just as tough/As when you're missing a friend/Attack and take him back/Cause when the team isn't whole/You've got a hole in your soul/So step up to your fucking role/We might get hurt/We might be taking some hits/But when you're taking our friend/Then that's some personal shit” and you cannot tell me that’s not everybody’s mood post Battle in the Sarnan Nebula) 

A Simple Plan is a new addition in the past few weeks. I rediscovered The Spiritual Machines a few weeks ago and the lyric “How long can we hold off ending/How long can we pretend we're ok” hit me right in the Keith feels. So this one is in conjunction with the first verse of Nobody Gets Left Behind. The entire song actually reminds me of Dark Matter with how it’s centralized at one event but contains hints of other things (The truth arrived too slow).

Memories of a Girl I Haven't Met is maybe one standard year (so six earth months-ish?) after A Simple Plan. 

String Theory is... weird. It’s mostly there for the title, but the lyrics do contain themes found in other parts of the playlist that fit really well but don’t map to the event I associate the song with. It’s honestly about Shiro missing Adam and the rest of the people on Earth. Which, granted, given the point in the timeline the title is associated with makes a certain amount of sense but...idk. And the bit that begins with “You don’t believe in space” is about something entirely different. It’s confusing, but all inexplicably related to the title event.

Interesting fact: My Dark Matter drafts/ideas folder is actually split int pre- and post- String Theory folders. It was originally because String Theory is such a pivotal moment in the Coalition’s efforts, but it also ended up vaguely the middle of the timeline. It’s the point where things absolutely, truly, have no relation to what happens in canon. The butterfly effect stemming from the events of Shatterpoint (and an implied secondary shatterpoint in another fic) have changed things enough that apart from one general event, nothing happens the same way (and that event is for drastically different reasons). All in all, it fits the weird vibe of the song rather well.

Next is Belgrade, the Ultimate Klance Song, about three months later. Fun Shenanigans happen in conjunction with this absolute bop.

Here’s the surprisingly big gap of just over a standard Earth year, in which several important events happen that don’t have songs attached to them (Roentgen, maybe)

Then we get Birthright/Firewall, a set of songs about reclaiming yourself from the depths of hell with just a liiiiiitle bit of help from your family.

(It's time to take ahold of what belongs to me/It's time to walk away with no apologies/Voices in the mirror start quietly/And now they're screaming back at me!)

(This force knows what you can do/And what you can make/With your tattered shell)

Here Comes the Reign technically starts during Birthright/Firewall, but doesn’t come into full effect until a month later, and then even fuller around five months after that. Meanwhile, we have The Day the Earth Collapsed, which is rather self-explanatory.

A few months later there is Darker Matter. The fic connected to this is real weird, but also real important. Suffice to say it’s gonna be confusing, and a universe doesn’t like the Paladins for a while.

And then we have Closure. Child From the Stars (Lost in the Dark) is actually the first of four fics inspired by Closure’s chorus. (I also drew a picture for each fic. They’re combined into my desktop background, and the first one is still my phone background and my pfp) “I am the child from the stars/That got lost in the dark/Between heaven and hell/I am forced to live on/I am the cause when you sin/I am the demon you skin/But there is no more tears to beautify/This is my last goodbye”

Closure is a rather sad song actually, but the way I’ve interpreted it ends on a bright spot of hope. The first related fic I’ve already posted/talked about, the second would be around the time of A Simple Plan. The third is somewhere in the gap between Belgrade and Birthright/Firewall. I’ve placed Closure at the approximate time of the fourth fic. I actually just moved it while writing this, because I realized this makes more sense after Darker Matter and with the Fall of [Redacted]. I’ve chosen to interpret the last line as finally deciding to stay instead of the (probably more likely given the rest of the album) darker interpretations.

After Closure is Ember, which is actually super connected to Darker Matter which is why I originally had them next to each other. The thing is, all three of these songs are connected to very specific events, the latter two of which are in direct response to the first even if there is a month or two between them. Ember is on the playlist for two reasons: the first is the line “dark matter falling from the sky” that basically required me to put it somewhere; the second is the fact that I keep mishearing the lyrics. “chthonic” is not “cuthonic” (which is not a word, but I interpreted as meaning Cthulu-like) and it’s “riches to embers” not “witches to embers.” Make of that what you will.

And finally, after almost seven Earth years, we get to The Reckoning/This is a Call/World on Fire/Louder Than Words. The Reckoning sort-of picks up where The Day the Earth Collapsed left off, spanning at least a year before going full force into the frantic five days of the other three songs.

(In blood and tears/A thousand times/We rise against/We'll always hold the line/Of reckoning)

(This is a call to action/This is a call to arms/All lives for one, together/There are no false alarms)

(World on fire with a smoking sun/Stops everything and everyone/Brace yourself for all will pay/Help is on the way)

(We have the force to fight/We have the blinding light/A war is more than heard/Coming in louder than words)