With 2021’s ULTRAPOP, the world saw a new iteration of what we thought we already knew about the Detroit collective, with a wider cast of characters taking part in album creation and live performance under pseudonyms at times. Leader Tony Wolski (yes that is his real name and identity) and his cohort have now removed the veil to reveal the not so well-hidden faces, yet to add further intrigue have invited a cast of some A-list musicians to add their styles to the mix, most notably Queens of the Stone Age’s Troy Van Leeuwen who jumps on not only as collaborator but producer alongside maestro Ben Chisholm for the new record.
Lead singles ‘Sport of Form’, ‘Liar 2’ and ‘Everything’s Glitter’ saw this far-reaching reinvention and chase for global domination laid bare, however The Armed never play it as straight as they seem with this new direction. Liar 2 is a direct nod to the hardcore remnants of their past through title alone maybe, while the lyrics of Clone and Sport of Form refer to ‘iterations’ which could be read as a linking arm to the past. Alienation of their ‘hardcore’ fans has never been the aim; rather they want the Daniels to join them in this exciting new world.
Not only do they indicate their journey but hints to inspirations with the likes of ‘In Heaven’ mentioning an ‘everlasting glaze’ a reference to Smashing Pumpkins, a band they once covered. With guests like Matt Sweeney in tow it is impossible not to see the connections. This isn’t just music to consume, this is a world to dive into, goggles, air tank and deep-sea torch equipped to find the treasures.
Through this array of talent involved, they musically reimagine many a bygone era, from David Bowie to the many mid-2000s bands with the singles recounting memories of The Strokes, The Walkmen and probably a few others beginning with “The”. Regardless of the influences, this is The Armed’s world they want you to view and challenge. Each listen sprinkles more broken glass under the feet of those who walk this dream pop world. Is it unique and innovative music? Is it a copy of what came before, a copy of that? Whether this really matters is meaningless. This is music that envelops and tingles the spine and that like its predecessors and inspirations will hopefully be cemented in the collective hivemind of listeners for years to come.
Once accused of having music so dense and unlistenable by some, the production by Ben, Tony & Troy and mixing by Alan Moulder (previously having worked on NIN, U2 and, unsurprisingly, Smashing Pumpkins) really assists those curious ears. FKA World is a prime example with a groovy bassline and screeching guitar creating at first a melee of hook laden sounds. But going in listen after listen you pick up effects on Tony’s vocals, simple piano key tickling and the distant saxophone of Patrick Shiroishi. This becomes a fulfilling record, filling the listener with joys time and time again.
Some details and parts are more apparent. Clone brings in Converge yeller Jacob Bannon, alongside a noticeably shorter contribution by long time lead vocalist Cara Drolshagen. Rhythm duties are shared between drummers Urian Hackney & Mark Giuliana, who along with bassists Kenny Szymanski & Justin Medal-Johnsen produce some of the most interesting elements of the record. From the blast beats in Clone, to the ultrajazz of closer ‘Public Grieving’ the variation is mind-bending, yet everything has its place. This is a thoughtfully curated and sequenced record. The previously mentioned ‘Public Grieving’ paired with acoustic smoothness of ‘In heaven’ to close out proceedings are shockingly unexpected in the most scenic terms.
There are so many layers of intricacy to Perfect Saviors and way more to be said about other tracks on this record, most that will be discovered months or even years from now. The personal journey for the band and listener is more important than any words attempting to explain what this is. It is like chiselling away in that dark cave to find the red ruby crystal. It is worth the energy, concentration, and perseverance at times to get what is happening at times. What is apparent is they ‘don’t give a fuck’ as exclaimed in ‘Liar 2’. Why should they? No brilliant art or music gets created out of safety. Yes, absolutely use and remould the past, but create a vision and something of your own in the world.
Whatever people take from this record it certainly is a record that the band have been itching to make and ultimately want to listeners to view this from a differing angle. Music has very much become genre-less in recent years and this is the peak meaning of the word. Is it hardcore? Definitely not. Is it pop? Perhaps. It may well even be more ULTRAPOP than ULTRAPOP itself.