Whether the flavor of the moment be a mid-paced riff machine such as leadoff single “Scarlet Cross”, a mellower pop/rock infused romp with a strong keyboard backdrop in “Born Again”, or a blistering metallic assault such as “Crimson Skies”, Biersack proves a consistently well-rounded presence, going with the flow and prepping to inspire plenty of sing-along moments on future tour dates with his accessible melodic swagger. The level of consistency that comes with what he brings to each of these compact yet dynamic songs has a bolstering effect on the whole arrangement, perhaps coming off as static when compared against the music going on around it, but also providing the sort of melancholy narrator persona that fits the story being conveyed. Naturally one would be remiss not to note the impressive vocal display turned in by Andy Biersack, whose clean cut yet fairly forceful approach could be likened to a less melodramatic rendition of Howard Jones’ cleaner moments during his tenure with Killswitch Engage or that of less raspy Philip Labonte. Then again, the devil is always in the details, and it is in the ornamentation and deviation provided by lead guitarist Jake Pitts and guitarist/multi-instrumentalist Jinxx that turns an otherwise by-the-numbers arena rock affair with some metallic flourishes into a formidable creation that often mimics the theatrically charged and impact-based albums one might expect from the likes of Solution.
Buoyed by a rock solid rhythm section performance turned in by veteran kit man Christian “CC” Coma and newly recruited bassist Lonny Eagleton, it’s an album largely built off hook-oriented bangers with a familiar and highly methodical sense of structure. In many respects, “The Phantom Tomorrow” is a continuation of the conceptual scheme that this outfit had previously adopted on 2013’s “Wretched And Divine: The Story Of The Wild Ones” and it’s 2018 prequel “Vale”, but with a darker and more sinister tone.
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If nothing else, they are a band with a sense of artistic ambition that is at least equal to their extremely flamboyant image, which has often found them compared to the likes of Alice Cooper, Kiss and Marilyn Manson, and their sixth studio LP is a testament to a band that knows how to put a collection of radio-friendly bangers into a storybook experience. Originally cutting their teeth in the studio circa 2010 with a sound fairly reminiscent of contemporary albums out of the likes of All That Remains, As I Lay Dying and In Flames, their track record has since included a number of evolutionary leaps, including but not limited to a glam/shock rock stint and a foray into classically-tinged, metal-adjacent complexity that has since seen this quintet practically all over the hard rock map. Whoever said that a tiger never changes his stripes has never encountered the Cincinnati-born metalcore turned modern rock with a lot of twists juggernaut known as Black Veil Brides. The tomorrow that arrives in yesterday’s attire.
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