Bad Blood

**Bastille’s _Bad Blood_ has been a long time coming, with early leaked tracks promising much from the exciting new band fronted by vocalist and creative fulcrum Dan Smith. Recent single ‘Pompeii’ has already taken the charts by storm, but it remains to be seen whether this LP captures the public’s attention in the same vein.**

It certainly starts with style. We’re thrown straight into that standout single: a rousing anthem that combines traditional pop melodies with swathes of dance rhythms to enthralling effect, while the driving percussion at the heart of the track does just enough to differentiate it from the conventional guitar-pop we’ve all heard before. As an opening track, it’s a real statement of intent and a sign that **Bastille** may have found a niche of their own.

There are times when this formula of adding disco beats to melancholy melodies becomes overbearing, though. While eminently catchy, the hooks themselves are elementary and mostly comprised of familiar, predictable chord progressions. The drum and bass-inspired ‘Overjoyed’ is genuinely affecting, but it’s ultimately clouded by the repetitious rhythm at its centre. It’s clear that the intent is there, but a little more bravado wouldn’t be amiss in crafting something truly memorable.

And it’s this hesitance that contributes to the fundamental identity crisis of **Bastille**’s songwriting. The upbeat ‘Icarus’ and ‘Flaws’ belie the sinister analogies at their heart, with dark metaphors set to catchy refrains. But even in these instances, there’s an inability to let go of the heady percussion that courses throughout this album, marking them among a host of missed opportunities to deviate from **Bastille**’s synth-pop formula. When you look past all the melodic bluster, it’s the more unassuming tracks that stand out.

It’s on these occasions that Smith’s vulnerability is allowed to take centre stage. “How am I going to get myself back home?” he asks simply on ‘Get Home’, while the restrained string accompaniment of ‘Oblivion’ lends it an emotional clout that is possibly the album’s highlight. Here, Smith’s voice toes the line between endearing frankness and boyish angst, and is refreshingly unfettered by vocal effects. Sadly, though, these moments of respite don’t emerge as often as they should.

While it’s hardly revolutionary, _Bad Blood_ serves up a solid alternative to the current crop of indie contenders, while **Bastille**’s obvious dance influences offer them a real opportunity to forge their own path through an increasingly saturated genre. What a shame, then, that this first tentative foray into the indie-pop coliseum pulls its punches all too often.

**Similar To:** Friendly Fires, White Lies

**MP3:** ‘Pompeii’, ‘Oblivion’