Well, here we are, together again. Venturing into the rabbit hole that is the collective known as The Armed. One that I have myself falling down over the past year, and even further since watching ULTRAPOP: LIVE AT THE MASONIC TEMPLE. Over the years they’ve presented their message within their music videos; “Paradise Day”, “Ft. Frank Turner” and most recently “An Iteration”. These have all played into themes followers have become familiar with; identity, information warfare and the commoditisation of artistic product. This time it’s a near 50 minute extravaganza, which as the title suggests, is hosted from The Masonic Temple in Detroit. And yes, it’s as berserk and as addictive as you’d expect.
It becomes quickly apparent from the onset that there are going to be references plenty throughout the film. Book of the Book of Daniel’s contact number is printed across the side of the automobile that is ferrying a returning Dan Greene to The Masonic Temple. Wolski’s performance of the opener, “Ultrapop”, teases even further. Perched upon a sofa in the venue’s lobby, with the camera slowly panning in and out, revealing something new each time on the wider shot. Returning characters from music videos of years gone by and muddling of Greene’s identity.
The nine song set takes places across four different floors of The Masonic Temple. While a venue as grand and spectacular might seem an interesting choice for The Armed, it is more than fitting for what is going to take place. As the film moves higher up the floors for each performance, the story being told expands further and further between each act. We are first shown the guts of our venue as a freshly shaven Greene, moves from the lower levels to lead Wolski to the elevator, which will take him to his performance of “All Futures” and “Masungaga Vapors”.
There are plenty of familiar faces to be seen; Cara Drolshagen, Urian Hackney and Jonni Randall to mention a few. This is blended in with some fans might be unaccustomed with. As the eternal guessing game of The Armed plays with the ever-changing line-up throughout the film. During ULTRAPOP: LIVE there is a shared focus when it comes to the camera work, each member getting equal screen time, a subtle reminder of the collective nature of the group. It becomes soon evident on viewing of the aforement mentioned opening tracks, that the rawness and intensity The Armed have perfected will be present. And after all that, a scene of quiet intimacy and a click of fingers from Golden Girl takes it up a few floors.
It is a difficult art to keep the sustained adrenaline addled high that the first 15 minutes offers up. With “An Iteration” and “Average Death”, the option chosen by the The Armed is to let it simmer. A drawn back and wide open gym-hall esque in the next stop, with wide angles used a plenty and paced panning shots. Sonically there is enough to keep the fixation maintained. Despite the vocals falling victim to the mixing and too much use of reverb, the punchy sound carries over for two of the leading singles off Ultrapop. Next Chelsea Wolfe enters the ever expanding universe of The Armed voicing Golden Girl as she confronts Greene, in a scene that kicks off the self-reflective narrative of the entire thing.
The Detroit collective have already delivered up one of the best albums of 2021 with Ultrapop, with “Night City Aliens”, “Fortune’s Daughter” and “Where Man Knows Want”, they’ve delivered the best live performance of 2021. Three thrones sit atop of the room, with a variation of Drolshagen, Wolski and Greene keeping one seat warm with Golden Girl and that Groundhog on the remaining two. It’s the first time where narrative and performance begin to bleed into one another, with a the aforementioned three all performing vocal roles. Drolshagen’s, Wolski’s and Greene’s contrasting vocal performance make each track on this section feel unique and fresh. Whether it’s the infectious joy of Drolshagen, the humourous rigidness of Greene or the powerful Wolski. The entire performance makes the pulse race and is utterly entrancing.
The bright lights and feverish performances are enough to make you forget that with The Armed, there’s always something at play. Even before there’s a chance to take the needed deep breath after “Where Man Knows Want” ,it returns. In what is likely to be the most discussed section, Greene, offers up a monologue of introspection, confession and catharsis. The mirror afront being a fitting metaphor for our narrative at hand. Closing off and neatly tieing the entire monologue up in a bow, with a line that raises a grin. Then back on the mic, doused in red lighting, Greene begins the battle cry for “On Jupiter”.
“A love, everlasting, repent and believe” are the final words heard from Greene before puffing on a cigarette. “On Jupiter” here is nothing short of a siege on the senses, frantic camera cuts to accompany the wall of noise that the track closes the film out with. Despite the chaos at hand, there is a catharsis to it, leaving nothing to be felt after the rollercoaster of the previous 40 minutes.
ULTRAPOP: LIVE AT THE MASONIC TEMPLE is a fever dream, one that will sit in the mind for days after as the brain deciphers and attempts to make sense of it all. All this is credit to the narrative the The Armed have built over the last five-plus years, which has allowed offerings such as this to reach such heights. The strength of this narrative combined with a rich discography of music results in a a sublime artistic performance. What a brilliant show.
Digital screenings will start 15/10, with a special in-person screening event happening the same day at Detroit’s El Club. Check here for the full screening schedule, and ULTRAPOP: LIVE AT THE MASONIC TEMPLE can be pre-ordered here.
9.5/10