"God Send Conspirator"

Album Art by Bill Scoville.

**"God Send Conspirator"** is a song by the American rock band Coheed and Cambria. It is the tenth track on their 2002 album *The Second Stage Turbine Blade*.

## Lyrics

**[Verse 1]**

Hold in your last breath and stare

Assure me your metronome left arm stick shift

Is stuck on the right words in your ear

Could you hear me loud and clear? In sight and out of mind

Cautiously avoiding the cracks

Not to disturb your steadied-arm straight line

The facts before a climb... a plan before a crime

Tired in the days that passed away

Sporadically arranged across your floor when you've got it made...

**[Chorus]**

Dear Mariah

The world's not big enough for the both of us

When we live in the same town, *(that's wrong)*

Fight on, fire *(Fight on, fire)*

Burn my hands 'til I got nothing left

To count my numbers on, *(that's wrong)*

*(What's right?)*

**[Verse 2]**

Your wise-ass comments could cheer you up

The emotional disturbance, relax, deep breath, sit back

From the space in which you stand

Here and in demand

Don't touch a fresh wound that bleeds

All over your carpets, the stains, the storybook remains

And the page that states you've lied

Accept and then reply, acknowledge the other guy

Tired in the days that passed away

Sporadically arranged across the floor when you've got it made

*(Tired in the days that passed away)*

**[Chorus]**

Dear Mariah

The world's not big enough for the both of us

When we live in the same town, that's wrong

Fight on, fire *(Fight on, fire)*

I'll burn my hands 'til I've got nothing left

To count my numbers on...

**[Bridge]**

Don't change your mind when all's been won

Your words, in time, with the loss that you'd let them go

Don't let them fall if your grip's not strong

In time, decide... with the words you should let them go

**[Interlude]**

Dear Mariah, come sleep in your own *(bed)*

Oh, dear Mariah, come sleep in your own *(bed)*

Well, dear Mariah, come sleep in your own *(bed)*

Oh, dear Mariah, come sleep in your own *(bed)*

**[Outro]**

When eye meets eye, be calm

Will lie here alone, locked, the children in the floor

When eye meets eye, be calm

Will lie here alone, locked, the children in the floor

When eye meets eye, be calm

*(Your dreams can't last forever)*

Will lie here alone, locked, the children in the floor

In the floor...

Father figure wraps his face up

He'll be coming home to you

*(Who sat me down here?)*

*(Your dreams can't last forever)*

Locked, the children in the floor

*(Who sat me down here?)*

When eye meets eye, be calm

*(Your dreams can't last forever)*

Will lie here alone, locked, the children in the floor

*(Who sat me down here?)*

When eye meets eye, be calm

*(Your dreams can't last forever)*

Will lie here alone, locked, the children in the floor

## Story Context

We start this song's scene in the thick of danger: Mariah Antillarea, the leader of the rebellion against Ryan and love interest of Jesse's, is caught by Mayo Deftinwolf. Seeing the scene through a holocomm unit, Jesse watches as she is killed. "Hold in your last breath and stare" refers to them staring at each other through the holocomm. "Assure me your metronome's left arm stick shift / Is stuck on the right words in your ear." Until this moment, she had been discussing things with Jesse, with careful attention on the battlefield. It could be that these lines are meant to convey that she hopes she is on the right path, and wants Jesse to reassure her of that. It's followed by "Did you hear me loud and clear? / In sight and out of mind" which seems to be shifting focus to Deftinwolf as he stalks after her. This is made clear by the last lines: "Cautiously avoiding the cracks / Not to disturb your steadied arm straight line / The facts before a climb / A plan before a crime." Which illustrate how careful he's being to avoid detection, and his intent to kill her. The verse ends with "Tired in the days that passed away / Sporadically arranged across your floor when you've got it made" which could refer to how Jesse feels. Anyone would be devastated to see the one they love die, but Mariah is beheaded, and her body falls to the floor like a broken doll.

In the chorus, we shift scenes to Wilhelm Ryan as he gloats over Mariah's death, hoisting her severed head high. "Dear Mariah / The world's not big enough for the both of us" is a direct line from him, with "When we live in the same town, that's wrong" being an insight into how Ryan must see The Fence or possibly the fact that they are both Mages. Either way, he can't stand to have her on any level of his. The battle continues with "Fight on, Fire." We close the chorus with "I'll burn my hands 'til I've got nothing left / To count my numbers on, that's wrong / What's right?" Which could be a shift back to Jesse trying to pick up the pieces Mariah's absence left behind. He's not even sure what's the right move anymore.

The second verse shifts the focus again, this time, possibly to Claudio Kilgannon with the line, "Your wise-ass comments could cheer you up / The emotional disturbance, relax, deep breath, sit back / From the space in which you stand." After all, in the Camp of Si-Revody, Claudio seems to be becoming arrogant and apathetic on the whole. This will manifest itself later, but for now, the additional lines seem to show us snapshots of Claudio's time in the camp: "Don't touch a fresh wound that bleeds / All over your carpets, the stains, the storybook remains" could refer to the various atrocities committed to the Stars and the attacks from the Priests. The storybook mentioned is probably the Ghansgraad. We get a repeat of the line "Tired in the days that passed away / Sporadically arranged across your floor when you've got it made" which in Claudio's case refers to his siblings deaths, the assumption of his parents death, the death of the Stars, and so forth. These encounters have stained his heart.

In the bridge, we start with the line, "Don't change your mind when all's been won / Your words, in time, with the loss that you'd let them go." This seems to turn us back to Jesse. Upon Mariah's death, he's devastated, but there's no one else that can take up the fight and lead the rebellion in her stead. Even though it feels like Ryan has won, he has to pick up that mantle. We get the reprised line, "Don't let them fall if your grip's not strong / In time, decide, with the words that you'd let them go" next that supports this idea. And it's repeated for emphasis because now we change scenes on final time to Coheed and Cambria. This time, "Don't let them fall if your grip's not strong" very much refers to their metamorphosis into The Monstar and The White Ruineer. Jesse was tasked with looking after the pair and Josie, and this grip was loosen, so now he's tasked with not letting them fall into Ryan's hands. This is why he enters the *Gloria*, but ultimately, they are defeated and captured by Crom.

Which brings us to the interlude. All the lines are more or less, "Dear Mariah, come sleep in your own." As a repeated line, this very well could be something spoken by several people, all with a different ending. "Dear Mariah, come sleep in your own" filth, could be from Ryan, while "Mariah, come sleep in your own" peace, could be from Jesse. Perhaps another is "sleep in your own" place, or bed, or sorrow... the ending to this statement could be almost anything, but I do think it is meant to encapsulate how her death resonates all over The Fence and really elicits a major response.

Which brings us to the outro. "When eye meets eye, become / We'll lie here alone, locked, our children in the floor." This is a direct quote from Crom as he's restrained Coheed and Cambria to opposite gurneys, tilted them up and further restrained their faces with metal, spider-like devices that force their eyes open to stare into each others. He then says, "When eye meet eye, *become*." Which starts the process of transformation. The last bit probably refers to their death, which takes place on now dead surface of Star VI. The White Ruineer has slain The Monstar, and reverting back to Coheed upon death, Cambria, who also returns to herself, stabs herself through the throat. Their bodies lie on the surface of the dead star, their children also all dead, as far as they know. We also get the whispered "Your dreams can't last forever" line which is also a direct quote from Claudio as he was rejected from Si-Revody, and wanders the gutters of the decrepit city of Godder Damm. Then we get "Father figure wraps his face up / He'll be coming home to you" which probably refers to Jesse. Jesse is not an actual father in the usual sense, but he did create many IRO-bots which look to him as a father figure. After the events in Sector XII, he lies low and trains with the Prise. The second portion probably illustrates his lack of care for his own life as "coming home" can also mean to die and be reunited with departed loved ones, in this case, his love Mariah.

Of course, this would lead directly into the third chapter. But we still have more songs...

## Trivia

* Eppard played Piano.
* In the original release, with the hidden track "IRO-Bot" following, there is a brief piano interlude which is reoccurring throughout the band's discography. It is the interlude that is believed to represents the passing of time, in this case, there is a six year gap from Mariah's death to Jesse's incineration of Longcindia, described in the aforementioned song.
* The line "Father figure wraps his face up / He'll be coming home to you" is not in the lyric booklet.

## References

1. ↑ 1.0 1.1 Coheed and Cambria. Booklet. *The Second Stage Turbine Blade*, Equal Vision Records, 2002.
2. ↑ https://genius.com/Coheed-and-cambria-god-send-conspirator-lyrics