In Defense of Bastille
I have a vivid memory of being at a mediocre sweet 16 during sophomore year, feeling genuinely betrayed by what seemed to be everyone's favourite song of the night: ‘Happier’ by Bastille. Don't get me wrong, it's not even that bad of a song. But, realizing that yet again another band has regressed their sound to a radio-pop, bass-drop extravaganza is pretty discouraging. With underwhelming beats to the likes of AJR, Bastille has tried to make its way back to the mainstream media for the first time in 7 years. While it's common for a band's sounds and influences to change over time, an obvious cheapening of both music and lyrics alike is not what fans are typically hoping for. Gripes about Bastille's new music aside, I don't think it's worth pretending that their past releases weren't incredibly influential to the early indie-pop scene. 2012's album Bad Blood is dynamic, engaging, and creates a storyline from start to finish. This never-heard-before sound popularized a new age of not-sad, not-happy alternative music completely different from what teens predominantly gravitated towards. And, in the end, we must give credit where credit is due.
Opening with the worldwide hit ‘Pompeii’, Bad Blood utilizes lead singer Dan Smith's satisfying vocals to their fullest potential. Beginning with an arena-style chorus of men, ‘Pompeii’ holds lyrics stuffed with imagery and storytelling describing a somewhat abstract subject for the predominantly young audience. Nowhere in this single are there cheesy love song tropes or overused radio-music themes, but rather a fresh look at what pop music could be.
‘Things We Lost In the Fire’ and ‘Bad Blood’ use string quartets, choir claps, and flowing vocals which further set this album apart from the Ariana Grandes and Taylor Swifts of the time. “These Streets’ create an optimistic sound, looking back at life in a hometown that the main character was forced to walk away from. We see similar themes in the preceding songs: the protagonist being forced out of what they've always known - whether it's from a mass-destructive volcano, a house fire, or a bad relationship. ‘The Weight of Living, Pt. II’ shows the aftermath of this sudden need to grow up, detailing the struggles of adulthood and existentialism: "Now that you're here, suddenly you fear / You've lost control... Do you like the person you've become?".
In ‘Icarus’ the downfall of the protagonist occurs; the strains of adulthood have become too much, causing them to rely on alcohol and drugs to numb the pain. Allusions to Icarus show that this character has become arrogant and cocky, thinking they're invincible despite the thin line they walk. ‘Oblivion’ is a point of reflection, a new understanding that life is not limitless and at some point, the end for them and their loved ones will come. We now see a new character, a love interest, that brings them out of the hubris seen in the first half of the album. A turning point is reached, one that we can see is incredibly emotional and personal, "Are you going to age with grace? Are you going to age without mistakes?".
After this shift occurs, we see our first love song. ‘Flaws’ explores this character telling the love interest of their past that has been documented throughout the album. While his lover accepts these flaws, we see a sense of codependency develop as they share common traumas and experiences. ‘Daniel in the Den’ offers more illusions to popular tales of caution and tragedy, expressing how the protagonist was once betrayed by family and outcasted for not adhering to the path that was laid out for them: "Felled in the night by the ones you think you love / They will come for you.”
‘Laura Palmer’ references the main character of Twin Peaks, seemingly relating her experiences of prostitution and drug addiction to that of his lover. This is followed by the emotionally charged ‘Get Home’, the character realizes that they must try to get back to their roots, whether that means physically or figuratively. They realize that too much has changed and in order to be happy again, they must rediscover their inner child once more.
One final shift is seen with ‘Weight of Living, Pt I’. The song reflects on the life the protagonist has lived. They describe an albatross hanging from their neck, symbolizing the weight of their past and all of the regrets in their life. After the second chorus, we can finally see hope again. "Your albatross, let it go... Shoot it down". They are finally free from the shackles of their past, shaking off the weight of being forced to grow up too fast. The album ends with "Laughter Lines" which details the protagonist's realization that ageing is not to be feared. Wrinkles are simply made up of the stories that someone had lived through, their's being seen predominantly as "laughter lines." A happy ending, a sweet story of coming of age.
After deeply analyzing the entirety of Bad Blood, it is evident that the production quality and lyricism of Bastille has severely declined over the years. Sure, we can dance along to ‘Happier’ while drinking low-quality Shirley Temples in a sweaty sweet 16 venue, but it's more fun to psychoanalyze a made-up character through an hour-long album made 8 years ago. Or, at least I think it is.