Release Date: Jun 14, 2019
Record label: Capitol / Virgin EMI
Genre(s): Pop/Rock, Alternative/Indie Rock, Indie Electronic, New Wave/Post-Punk Revival
After confronting global corruption on 2016's Wild World, it's only natural that the men of Bastille would feel the need for escape that they express on Doom Days. It's as necessary to take moments to just exist as it is to resist the world's injustices, and the band's third album follows a night out with friends and possible lovers, from singing along with the radio on the way to the party to waking up on the floor the next morning. However, their attempts to ignore the world around them on Doom Days are even more relatable because they can't shut it out entirely.
On their most inventive, boundary-hopping album yet, the London band attempt to party away political strife - but reality keeps catching up with them When Bastille released their second album 'Wild World' in September 2016, it still felt like there was a glimmer of hope on this bleak planet. Back then, it didn't seem plausible that Hillary would lose out to a barely intelligible, unqualified, human decency vacuum. Brexit didn't yet feel like the point in an action movie where the timer on a bomb starts counting down at lightning speed.
Music has long been used as a form of protest, and Bastille know this well. Dan Smith and co’s second album, Wild World, was released in 2016 to rave reviews - some calling it a cinematic, orchestral, acerbic take on the world. Those making such comments about Will Wood might well jump at the title of its follow-up, Doom Days: here are two succinct words which surely describe the world at the moment.
You know that they deliver massive hooks. You know what Dan Smith's voice sounds like, having heard it on their numerous hits and last year's megahit collaboration with Marshmello ("Happier"), and you know he loves to turn one syllable into four. You know that if they were angry Americans, they would be Imagine Dragons. You would imagine, given the amount of shit they get from music reviewers, that they (like Coldplay) were the worst, most vanilla group of nothings that a record company A&R man ever wet-dreamed about.
Indie pop group Bastille's third studio album 'Doom Days' is a journey through a long night spent looking for distraction - a journey that ends in "glimmer of hope". Opening with 'Quarter Past Midnight', there is warmth and familiarity that lingers within the first notes. What stands out most from the beginning of this album is the flawless blend of instrumentals that moves unnoticed from one track to another - from 'Bad Decisions' to 'The Waves' to 'Divide'.