You Can Be My Wave

When I first encountered Fire-Toolz's 2023 album, I am upset because I see something that is not there, Chicago artist Angel Marcloid instantly solidified herself as one of my absolute favorite musical discoveries of the decade. She was bold and fearless in her integration of technical death metal, jazz fusion, new age ambiance, nostalgic vaporwave, and honestly much more. On paper, her sonic identity sounds like a chaotic, unmitigated disaster. Yet, against all odds, Marcloid's brilliant execution transformed these seemingly incongruent genres into a world that felt cohesive and surprisingly tangible. Even after I reviewed I am upset…, my adoration (or obsession) continued to grow, to the point where once year-end list season came around, the number one spot seemed fairly obvious.

In the wake of this revelation, I began following her work more closely, quickly realizing that Marcloid has been on the grind. Aside from Fire-Toolz, her unique and singular vision has attracted various clients seeking production, mixing, and mastering expertise. Steadily adding credits to her name, I was crossing my fingers that someone out there would recognize her talent and give her the larger breakthrough she clearly deserved. Then came the announcement: Fire-Toolz had officially signed to the prestigious Warp Records. It was a total 'oh, duh' moment. Warp and Marcloid share a fiercely forward-thinking ethos, making the partnership feel less like a corporate acquisition and more like a cosmic alignment. I was excited at the prospect; confident that Marcloid's new home wouldn't interfere with her process and only amplify the result. After listening to Lavender Networks, my inclinations proved to be correct. Nothing has really changed in terms of the aesthetics; eleven years into the Fire-Toolz project, Marcloid has the sonic character dialed. However, the tight, ten-track offering remains to be consistently exciting and confounding all throughout.

Admittedly, the record opens with a mixed reception. Quintessential Fixed Width Unfoldment, reintroduces us to Fire-Toolz's universe with cosmic synth pads that lead the listener through a prog journey that never resolves, only moves forward. When the track truly gets underway, we are thrust into Marcloid's signature blend of fantastical soundscapes desecrated by death metal guitars and her familiar, throat-shredding harsh screams. I'd be more than happy to reside in this beautifully epic, yet crushing space, but Marcloid unfortunately has other plans. The track suddenly pivots into New Age ambiance, complete with celestial woodwinds and harps. It's neat, but at five-minutes in length, the stretch is a tad long-winded. Zola Jesus makes an appearance, yet doesn't deliver her most confident or powerful performance. I wouldn't say it's necessarily her fault though as the scene she finds herself in is a little underwhelming.

Fortunately, after this slight misstep, Marcloid course corrects with Balam =^..^= Says IPv09082024. The decision for this to be the album's first teaser makes perfect sense after hearing the full record as it showcases how effortlessly Marcloid can weave disparate threads into a stunning tapestry. The main synth riff carries an airy, slightly percussive timbre that evokes the feeling of a Mayan expedition set to punchy beats. The absolute peak of the track, however, is a sudden technical death metal freakout where extended-range guitars chug menacingly, synthetic drums blast away haphazardly, and Dream Theater-esque synth lines rush past at breakneck speed.

[CODENAME_SPARKLY LAGOON LAN LINE] takes the tapestry from the previous track and sets it ablaze with thunderous, terrifying aggression. The guitars explosively rumble rather than chug, and Marcloid's initial growls are so bit-crushed, they could easily be mistaken as merely digital noise. Then there's unorthodox, herky-jerky rhythms that lend to the track's menacing vibe. It all culminates in a nasty breakdown featuring a piercing, metallic snare; reminiscent of the infamous St. Anger tone, only implemented with far more taste. There's also warped carnival sounds that clash with the rest of the instrumentation in an unsettling way.

A brief reprieve arrives in the form of Kiss the Bladed Cat, Find Ways to Stretch Time. If you can look past Marcloid's harsh vocals, this track functions as a welcome cooldown moment loaded with cool sci-fi elements. The crystalline texture of the synth pads and the 'broken transmission' effects give the track a futuristic glitchiness. The beat here is comparatively sparse, slow, and rigid, but not unwelcome considering how dense the production on the previous two tracks were.

This more approachable atmosphere carries over onto And Where Is the Heart? I've Searched My Entire Home, easily the record's most sweet and sunny tune. Nashville singer-songwriter Jennifer Holm is brought in for clean vocal duties, and Marcloid opts to keep them in pristine, untainted condition. Holm feels like a visitor in Fire-Toolz's surreal world, but never an awkward one. Instead, her performance translates a genuine sense of curiosity and wonder, like watching Dorothy step into Oz for the very first time.

The sunny vacation is abruptly cut short by The Ocean Gratitude Cylinder Peace Necklace Lemonade Flying Free. Marcloid drags us back into technical death metal territory, albeit with a grindier, thrashier flavor. The track absolutely rips with articulate, agile riffs that incorporate perfectly timed panic chords. This is also the track where we're treated to a saxophone solo, a reliable tool in Marcloid's arsenal that I'm happy to see make a return; especially given the unexpected context it finds itself in. That's not the only unexpected facet of this incredible track; Marcloid begins messing with the rhythm section in the second half. She constantly dissects the tempo; going from full-time, to half-time, to a quarter-time, or randomly cutting the drums entirely only to drop them back in the middle of a bar. It may be frustratingly jarring and choppy, but I can't think of a better way to maintain one's attention.

The album ultimately comes to a close on a lighter note, beginning with the penultimate track, Pleasant Valley Magic Cube of Holiness. It's a stormy piece of electronic music that is heavy on 80s affectations. Yet, despite the thunderous percussion and airy rushes of synths, it winds up being one of the least threatening pieces on the album. The track is steered vocally by Sling Beam, whose reserved performance is digitally manipulated by Marcloid to sound fittingly artificial. Then we have Dear Robin Bears & Love Cloud '24, a seven-minute instrumental that follows a linear progression. It gradually introduces rhythmic and melodic elements layer by layer, allowing the soundscape to expand and fill out over time. While the production is sound and offers something different then what was already presented earlier on the record, as a closing statement, it does feel rather anti-climactic.

Zooming out to see the bigger picture, there are a couple things that I feel are missing from Lavender Networks. While the essence of Fire-Toolz's sound hasn't really changed, I do feel like the focus has slightly shifted since I am upset…. The production as a whole comes across darker, more dense, and perhaps esoteric. This certainly pays off on the more metal-inflected cuts, a facet of Fire-Toolz that is not only well represented, but absolutely crushed on this record. The drawback is that the melodies don't always pop and the jazz fusion chops unfortunately take a back seat; two aspects that initially captured me. I do really enjoy this record, but I'm missing that overwhelming feeling of gratification.

Furthermore, while the vocal guests do an admirable job handling the clean melodies, it's hard not to miss Marcloid's own clean vocals given how naturally her voice translates within the unique spaces she builds. Marcloid almost exclusively employs her harsh screams, cutting off opportunities to incorporate some memorable melodies. Regardless, Lavender Networks is another stunning addition to the Fire-Toolz catalogue, and an album worthy of debuting on such a legendary electronic institution. Having experienced a walk through the hallowed halls, I'll be very curious to see how this partnership with Warp Records will influence Marcloid's next project.