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”.. But Doom Days is almost certainly exactly that. Music reviews. Overall, while Doom Days may lack anything with the staying power of the mega-hit “Pompeii,” Bastille has still managed to craft a record worthy of repeat listens. "The Waves" and "Divide" are interesting ballads, and I wanted to really like both of them, but they just kind of sit there, waiting for a bigger riff and chorus. Over three albums Bastille has not yet been able to shake their roots. A record which thrives on evoking feeling and catharsis, while remaining committed to their personal influences, on Doom Days they’ve managed to deftly build a conceptual world not all too different to the one we’re facing right now, and that feels like a triumph in itself. They tend to come off as a pastiche of those other, better bands. All this publication's reviews On Doom Days Bastille falls into a sonic rut, but its best music gives us plenty of indication that this need not spell doom for what's to come … "Doom Days" is no different.
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 … Bastille - Doom Days. 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. Opening with ‘Quarter Past Midnight’, there is warmth and familiarity that lingers within the first notes. This feels somehow lower-key (less in-your-face) than the other two, and it feels much more cohesive as a result. Reviewed in the United States on June 22, 2019 The very thing I like about Bastille is also their achilles heel--that they remind me of Coldplay, Keane, OneRepublic, Imagine Dragons and the like. The hits are obvious such as album opener "Quarter Past Midnight" followed by "Bad Decisions". Calling this the best Bastille album is, to some folks, faint praise.
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