Doom Days, Bastille’s grippingly confident third album, is a record of hope for turbulent times. Made by Dan Smith with bandmates Kyle Simmons, Will Farquarson and Chris ‘Woody’ Wood, and producer Mark Crew, it sees the Grammy nominated, Brit winning four-piece stretch out and open-up like never before.
Doom Days finds Bastille at their most lyrically provocative, most accomplished, and most vital. It taps into globally felt worries whilst also working on a much more intimate level. Setting the album over the course of one night allows the band to hold a mirror up to the world using personal, relatable situations. Doom Days is a record that celebrates real human connections and urges us to keep searching for moments of elation.
It’s an album that starts in the middle of an Uber ride through the city streets and ends waking on the kitchen floor with the healing sounds of euphoric new single Joy, which sees the demons of life's hangovers dispelled by a simple phone call from someone special.
“That glimmer of hope at the end of the album says everything,” says Dan. “The smallest human gesture can pull you back from the brink.”
Review of Bastille - Doom Days by Thomas Bleach
Bastille are an english four piece who have had a lot of success since the release of their critically acclaimed debut album ‘Bad Blood’. However their follow up record ‘Wild World’ failed to deliver the same wholesome and honest feeling. In between a whole lot of touring and collaborations, the band have returned with a short album with a bit more feeling. ‘Doom Days’ packs in eleven tracks of strong pop-rock elements mixed with electronic influences. Describing this record as an apocalyptic dance album, lead singer Dan Smith lives up to that approach.
Opening track ‘Quarter Past Midnight’ hears them returning to their roots and delivering a pulsating indie-pop-rock track that captivates you with its euphoric harmonies and moody production. Beginning with Smith’s instantly recognisable vocals, the song has minimal production with hand claps leading the percussion before the guitar riff ignites the rest of the production. Exploring that magical moment of being out in the middle of the night with the people you care about most and the idea that anything can happen. Rolling into the euphoric ‘Bad Decisions’ they add a heavier electronic influence and create a song that will become an instant favourite in their live set. The album continues to roll out those moments like ‘The Waves’, ‘Another Place’, ‘Those Nights’ and the beat driven ‘Doom Days’ and ‘Nocturnal Creatures’ which is unlike anything they’ve released before.
The albums strongest moment comes from the euphoric ‘Million Pieces’ which explores wanting to have a good time at a party and escape the politics of the real world. It’s the bands first complete foray into the EDM world on a record and for some reason it feels the most organic. It ties together the experimental layers this album explores and feels like a more fulfilled collection than their previous record.
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