Cross’s mournful 1992 ballad “ Angry Young Men” features a chord that Marcloid has used “a billion times in so many bands.” She says, “I love that chord and the dissonance that’s in it.” “I Am A Cloud”ĭirect influences also crop up on “I Am A Cloud.” Marcloid shares that the song’s “first guitar part is strongly influenced by Christopher Cross” (a yacht rock pioneer who Marcloid has previously cited for sharing “the same thing that attracted me to emo: those arpeggiated clean dissonant chords”). I’ve always loved that about his playing.” The result is an unusually melodic and consistent track for Fire-Toolz, a moment to indulge in her fandom while decorating it with trace elements of her signature sound. He’s taking the root note to these different places, so it sounds like the guitar players would change with him-but they don’t. “Jeremy Gomez was so good at writing these basslines that keep changing and changing, even though the guitar players might be picking at a single chord,” Marcloid continues. Really the thing that carries the evolution of the song is the bassline.” “If you listen, a lot of the song’s guitar is the same riff over and over again. “ EndSerenading is one of my absolute favorite albums, so I was trying to tap into that with the guitar,” she explains. On “To Make Home, Be Home,” Marcloid not only borrows a stripped-down ’90s sound from Austin emo progenitors Mineral, she also devises an entire compositional approach from what she heard in theirs. Marcloid stays in this space for about two minutes before shifting to glimmering ambient free-fall. I felt like the riff I wrote was a little bit like something they might write.” A similarly jolting scream launches Marcloid’s song into a dense 6/8 metal waltz, before giving way to an ethereal, hopeful melody. “I can’t sing like Chino or anything,” she says, “but I tried to process my vocals in a similar way.
Marcloid cites Deftones as a direct influence behind the playfully-yet-painfully titled “Thick_flowy_glowy_sparkly_stingy_pain.mpeg,” describing the track as an intentional replication of the band’s style. I was so excited that blood-curdling screaming was on the radio.” For Marcloid, this moment was revelatory: “I was so blown away by it.
With a prolonged scream from frontman Chino Moreno, the song erupts from a steady nu metal simmer into something much more deadly. There’s a moment on Deftones’s 1997 breakout single “ My Own Summer” when the texture breaks like a wave. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to track “Thick_flowy_glowy_sparkly_stingy_pain.mpeg” Here, Marcloid talks us through the diverse influences behind some of the more genre-heavy highlights on Eternal Home, providing a window into her creative process, as well as the music that is meaningful to her. She finds the space to linger and get cozy within specific idioms, trying each on more completely than she has before, and thus more fully exploring the spectrum of her influences. On Eternal Home, however, Marcloid stretches out, delivering 25 tracks over the course of 79 minutes.
As Angel Marcloid, the polymath composer, producer, and multi-instrumentalist behind the project, puts it, “I don’t know what I’m going to do until I write the part that comes before the next part.” In the past, it was rare for a Fire-Toolz song to stay within a single musical style, chord progression, time signature, or easily decipherable structure for more than a moment. The music of Fire-Toolz has always shucked conventions of genre, shifting fluidly between atmospheric sound design, progressive metalcore, and smooth jazz in a matter of minutes.
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