Other write-ups I see of Tomorrow Never Comes are basically calling this Rancid V, Part 2. The cover art looks a bit like the back of that album, actually. And while there is some merit to the comparison, I think that description is misleading. This record absolutely shares that style of short, repetitive, and angry punk songs but it has an equal balance of melodic, pop-tone songs that don’t fit the spitting, vitriolic vibe of Rancid’s 2000 album. The overall feel is hard-hitting and angrier than your average Rancid record, but more with peak, high energy moments of fury mixed in tandem with melody and flow. I’d call this the follow-up we’d hoped for after Vand Indestructible.
I tie in Indestructible because, for me, that’s the last Rancid record to really settle into rotation in my playlist and, to be blunt, that was a long time ago and it kicked off the mediocrity. Tomorrow Never Comes hits fast ‘n’ heavy with the title track, including a surprising amount of gruff vocals from Matt Freeman, who typically gets maybe 10% of the vocals on a record. It’s a statement and it works, announcing a focused and punchy sound. I’d like to call it direct too, but that’s where I think modern Rancid falls off a bit. The songs on here are definitely tighter than the last couple of records, but while you have some singalong bangers, there are still a handful of songs that are really vague in their intent. “Tomorrow Never Comes,” “Devil in Disguise,” “Hear Us Out,” and “New American” are standouts, but a few other songs like “Prisoners Song” or “It’s A Road to Righteousness” just feel overly broad.
Highlights include the irresistible singalong refrain of “Devil in Disguise,” the return to more harmonies throughout, and Tim Armstrong’s sharper vocals, bringing real emotion on songs like “New American” and “Hear Us Out.” The opening riffs of the first song, to the lead chords of closer “When the Smoke Clears,” there’s an unmistakable “Rancid sound” that they’ve perfected over the years. Add in those …And Out Come The Wolves riffs that kick off “The Bloody & Violent History” and the bass solo of “Eddie the Butcher” and there’s almost a formula here if you look for it. Topics include loyalty, international violence, punk cliches, and a new cast of characters that include Eddie the Butcher and Calico Jack. Lars has fewer lead vocals on this record, again, and there is no ska, but this record satisfies this aged-out fan.
Rancid, thematically, is all about unity and coming together and that’s also what makes their records work. All the members are in tandem, literally sharing the mic, on the lead track and it just keeps going from there. Their sound pulls from ’77 punk with elements of street punk, ska, oi, and more, but the success of their albums is how those elements meet and carry through over 15-plus songs. “Don’t Make Me Do It” and “Live Forever” are throwbacks to their early days; self-aware but not self-indulgent. I suspect “Mud, Blood, & Gold“ and “One Way Ticket” are reworked Devil’s Brigade leftovers. And the rest hits different points from their catalog, reminding you of what they’ve done in the past, but offering something new. I like the start-stop of “One Way Ticket” and the new twists in “Hear Us Out” give this record some new life, alternating pleading vocals with buzzsaw guitars. While I think the lyrical syncopation in “Magnificent Rogue” is unusual, I like the new rhythmic approach as a changeup that breaks the formula a little bit.
It’s the little things that separate one punk band from another. The past few Rancid records felt uninspired. Despite the cynical title and lazy cover art, Rancid sounds reenergized on Tomorrow Never Comes and it was overdue. Let’s hope it continues.
