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 marks something of a shift in perception from its widely acclaimed No.1 predecessor Wild World, which confronted the world and the actions of those in power. Recorded throughout 2018 at the band’s South London studio, One Eyed Jacks, the new album captures the need to temporarily switch off and escape whilst taking the listener on a big night out in search of distraction from the surrounding apocalypse; be that screaming along to the radio in the back of an Uber careering through the city (the electric Quarter Past Midnight), getting loved up in the company of good friends (future classic 4AM), a casual hook-up (Another Place) or the end-of-night longing to be with somebody (the captivating Those Nights). It revels in the bad decisions we make both personally in our relationships and collectively on a macro scale (Bad Decisions), tells a relatable tale of being cornered into a deep discussion about the world’s problems when all you want to do is have a good time (Million Pieces), and wryly confronts modern anxieties, taking side-swipes at phone addiction, porn addiction, fake news and climate change denial (the uncompromising Doom Days). 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