The Future Is Here And Everything Needs To Be Destroyed

About

For their sixth album, hardcore punk collective The Armed purposely started writing without any premeditated idea. After the conceptual trilogy of their last three albums—2018’s <i>Only Love</i>, 2021’s <i>ULTRAPOP</i>, and 2023’s <i>Perfect Saviors</i>—they decided to focus on urgency over detailed lyrical cohesivene. “It felt like a new era, like we were leaving something behind,” vocalist and de facto spokesperson Tony Wolski tells Apple Music. “In starting something new, we wanted it to come from a place that was animalistic.” As such, <i>THE FUTURE IS HERE AND EVERYTHING NEEDS TO BE DESTROYED</i> is brimming with rage—at consumerism, social media, political divisivene, post-COVID isolationism, and general disappointment with the direction of society. “When you look at the world writ large, I just don’t understand how this would turn around,” Wolski say. “The levers that could change things in any meaningful way are the people who hold all the power, but they have none of the incentive. So, it’s an overtly negative record. But I do think there’s a glimmer of hope at the end—or at least a lack of hopelessne.” Like The Armed’s previous output, the record features a rotating cast of band members and guest musicians including Queens of the Stone Age guitarist Troy Van Leeuwen, ex-Punch vocalist Meghan O’Neil, Michigan hardcore troupe Prostitute, Converge guitarist Kurt Ballou, Rough Francis drummer Urian Hackney, and many more. Below, Wolski comments on each track. <b>“Well Made Play”</b> “It’s a very severe opener. We like doing that on all our album, but the execution is drastically different than our last few opener. I think the band is at its absolute strongest, physically, musically—everything—right now, so I feel like this has added power. Lyrically, it’s about how self-awareness has become the world’s scarcest resource. It’s about the hyper-celebritization of culture, and how that has sort of removed self-awareness from our skill. It’s like we’ve evolved beyond it or something.” <b>“Purity Drag”</b> “We wanted to front-load the album with brutality. We’re referencing East Bay hardcore on a lot of these song, so we just wanted it to feel like one of those albums that we got when we were 14, 15, where it just doesn’t relent. I think this has a chorus you can shout along to, and the song i, I daresay, near danceable. But it has very cynical lyrics about leftist disappointment. It’s about seeing the convictions that you have reduced to social trend. It’s about seeing some of the worst type of people espousing your ideas from wildly sanctimonious perspectives and in very ineffectual ways that will never yield result.” <b>“Kingbreaker”</b> “Again, we wanted to front-load the album with rage. My cousin Kenny, who plays bass in the band, this was one of his demo. He originally titled it ‘Optional,’ which was funny because he meant that literally, like, ‘I don’t know if we need to do thi.’ It’s basically one bass note shredding for two minute, and we added a breakdown. Lyrically, the song is about isolation. Post-pandemic, I think we still haven’t pulled out of the fact that everyone lives incredibly siloed live. The great reintegration that everyone talked about never really happened, at least spiritually.” <b>“Grace Obscure”</b> “This is the first bona fide punk song we’ve made in a minute. It’s a just a blistering tempo, a double-time shredder. Meghan O’Neil has been playing with us as a vocalist, and she was the singer of a band called Punch back when we were starting out. I would say that Punch is one of my favorite hardcore bands of all time, and I think that Meghan is probably my favorite hardcore vocalist ever. Her vocals are completely insane. This is one of the first songs that we’ve done with her taking front and center, which is really cool. You can hear some East Bay hardcore here, and the chorus is a not-too-subtle allusion to AFI.” <b>“Broken Mirror” (feat. Prostitute)</b> “Similar to ‘Kingbreaker,’ this started as a very primitive, emotionally driven demo. I recorded a super dumb caveman drumbeat. After recording that, I just hit record and made up the chord progression. And I didn’t tune the guitar. Then I came up with the vocals in five or six minute. The goal was to reduce artistic expression to the most primitive, most immediate version of yourself. Lyrically, it’s very much inspired by a Protomartyr song called ‘Tarpeian Rock’ where they’re just yelling shit that needs to be thrown from the rock. Moe from Prostitute sings on thi, and his voice has a lot more gravitas than mine. They’re probably the scariest, most important punk band right now.” <b>“Sharp Teeth”</b> “After five brutal song, to just slam into a Red Hot Chili Peppers-ass song felt hilarious to me. It’s a classic Armed juxtapositional whiplash kind of thing. Urian and Kenny, the rhythm section on this song, hit this unbelievable, heavy groove. In contrast to the grooviness and levity of that instrumental, the lyrics are about the hands-down worst time in my entire life. I don’t want to talk about it, and I wouldn’t have even felt comfortable singing it, but the fact that Cara [Drolshagen] is singing this one felt therapeutic. It’s really dark subject matter over a really happy track.” <b>“I Steal What I Want”</b> “This one has been around for a long time. I think I wrote this and ‘AN ITERATION,’ which was on <i>ULTRAPOP</i>, around the same time. But sometimes we need to get better in order to make a song work. It was almost like a space rock thing originally, but it needed to hit harder. So we made it more rigid, and then Troy [Van Leeuwen] recorded those guitar leads that are like equal parts Robert Smith and Adrian Belew, and it just fucking clicked. Lyrically, it’s about trying to enjoy the end of the world and holding on to what you love as everything else falls apart. That idea might be super well-trodden and not particularly original, but holy shit, does it feel authentic to me right now.” <b>“Local Millionaire”</b> “I have the distinct memory of Kenny playing me this demo when we were recording the last album and thinking, ‘Oh, man, this song is going to be so fucking sick.’ Everyone needs a song for the hater, and this is our song for the hater. It’s about self-obsession and turning that obsession into hatred for people who you subconsciously see becoming the better version of you. The band METZ was breaking up while we were recording thi, so we put those harmonized vocalizations in the background to pay tribute to them. They’re a fucking awesome band, and it feels like something they would do.” <b>“Gave Up”</b> “This is probably the most traditional Armed song on the record. I don’t mean that to diminish it, it just feels like it could live on some of our earlier record. It’s a classic Kenny song, and he made the initial prototype of what our compositions sound like. Lyrically, it’s about hollowing yourself out to fit in, which is I think something that every single person alive does and has done to some extent. But it gets out of hand when you turn yourself into an empty vessel for the opinions of other. It touches on rage-bait culture, the clout of consensu, and becoming a human Supreme T-shirt.” <b>“Heathen”</b> “I wrote this track, and it took me a minute to be courageous enough to share it with the rest of the band, because there’s a lot of conventional shit in it. But I’m glad I did. Patrick [Shiroishi]’s sax playing reminds me of Bowie’s <i>Blackstar</i>. Cara and I are both singing dozens of robot harmonie, which makes this weird, fragile, genderless voice. It’s melodramatic as fuck, but I think it’s a really cool moment in the context of this record in particular. On another of our record, it may have blended in more. It’s kind of an emotional soak after all this instantaneous rage.” <b>“A More Perfect Design”</b> .

via Apple Music

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