“My god has given up on me.”
It has been quite some time since we’ve seen anything of note come from Black Veil Brides. With the delay of The Phantom Tomorrow set from June 4th to October 29th, it’s safe to say that it was well worth the wait. In a 12-track album consisting of 4 singles, there is a sense of growth and maturity that is apparent throughout. Still, when you listen through and dissect everything piece by piece, it’s an undisputable fact: this is Black Veil Brides, and they are back.
Opening up the album and setting the stage for what is to come is title track “The Phantom Tomorrow”. In typical Black Veil Brides fashion, it is an anthemic and orchestral opener. Delving into arpeggiated violin sweeps and blaring organs and horns layered underneath, it makes for a smooth transition into “Scarlet Cross”. Being the first single to be released off the album, it was a wise decision to place it at the front. Black Veil Brides have shown they’ve refined the genre in this track; displaying catchy beats, big choruses, and an entrancing solo – this is a staple of who they are as a band.
Following up is a segue into “Born Again”. In contrast to its predecessor, there is a more atmospheric approach here. Assisting in driving Andy Biersack‘s vocals, the instrumentals do a stellar job steering the track in the appropriate direction. Utilizing heavy overdrive and slow paced riffs, Biersack is heavily thrown into the foreground. Featuring a simple and beautifully done solo, it is melodically enticing. They nail the goal of simplicity done right in this track.
Afterwards, the album will lead us into “Blackbird”. Overall, this song will take us in a similar direction as its former. Although it is musically similar, it takes note in a higher degree to the usage of dual guitar melodies. Throughout the entirety of the track, both guitars manage to echo each other in different layers, creating wonderful harmony. Another track that emulates classic Black Veil Brides.
In typical Black Veil Brides fashion, it takes us into an interlude through “Spectre”. As with most interludes, it exudes extremely symphonic and orchestral vibes. This track being only 1:15 long does not stop it from being impactful, bringing in heavy reverberation through its double bass and beautifully strung violins. Creating an elegant transition, it heads into the fourth single released in “Torch”.
Now heading in to the middle of the album, this is the perfect moment to showcase its softer side before heading into the back half. Contextually, “Torch” is a well done example. Starting off, it makes great use of creating atmosphere through synth and rhythmically entrancing percussions. Throughout, there is no real star as all parts create great cohesion in collaboration. However, drummer Christian Coma does a bang-on job holding the groove down and elevating everyone else up.
Moving on, we start to encroach onto a heavier Black Veil Brides. Evident in the pacing of “The Wicked One”, it should be noted that this is a precursor for what’s to come. Being more rhythmically driven, palm-mute tremolos and staple metalcore downbeat notes are the leading factor in what makes this. However, they still manage to weave in their moments of dual guitar melody. This serves as a great track as the album leads us into a callback.
Throwing ourselves back to 2012 is “Shadows Rise”. Reminiscent of similarly named track “Shadows Die”, they hold two sides to the same coin with this album’s track being highly polished. Using gallops, sludge-esque riffage, and simply laid down groove, this track does not play around. Creating a callback to 2012, both guitars and violin introduce a mimicry of the old riff in pre-chorus and bridge. Showcasing a much more refined self, this is a proper enhancement on Black Veil Brides.
The second and third singles present themselves next in the album. First up is “Fields of Bone”. Starting with the intro, it delivers a decent pace in its buildup. Slowly, it builds up tension through its pre-choruses before it explodes in each chorus. With all instruments full fortissimo, triumphant is a word to describe it. However, all of this leads up to Jake Pitts delivering an even more explosive guitar solo, with Jinxx aiding along.
Second to bat is “Crimson Skies”. Surprisingly, this is the only track to feature any sort of harsh vocal from Biersack, and its only one moment. Standing out as one of the more aggressive tracks, it is firm on its very in-your-face stance. Utilizing double-kicks and palm-muted tremolos, it does a decent job driving things along. Throughout its verses, it makes great use of accenting its percussive elements. Finally, it erupts into a monstrous dual solo in similar fashion to the previous single. This is “Fields of Bone“, but heavier.
Narrowing in right before the closer is “Kill the Hero”. Both guitars and drums lay down the foundation quite nicely in this track. Again, there is a great job with accenting, as Coma is doing a killer job to elevate each part of the song. He makes great use with his fill choice, apparent in the pre-chorus with his rolls, and littered all over in the final chorus.
Finally, to close off the album is “Fall Eternal”. An entrancing orchestral suite opens as Bierseck‘s voice plays along with the piano. Perfect for the screen, this song is identical to a ballad seen in young adult movies. With that being said, it perfectly encapsulates the mood of the album and cleanly closes it off, hearing the droning of cellos and violins string through their final notes. Clean finish, emotionally enticing and nostalgic.
Overall, this album screams Black Veil Brides. It’s no reinvention of the wheel, but sometimes that’s not what’s needed. Through time, they have polished and refined their sound, and it definitely shows. If they continue to improve like this, I am here for it.
The Phantom Tomorrow is now available via Sumerian Records and various streaming platforms. For all things Black Veil Brides and music in general, keep it locked on Boolin Tunes!
8.5/10