Bad Blood Reviews

The Bastille has all it takes to be a pain to many people. They have a French name that sounds a bit 'too hipster, are combing "upwards" according to the latest fashion (or at least have it Dan Smith, face and head of the project), have a single, Pompeii, which runs already on the radio and, above all, have the face and the sounds of those who jump on the bandwagon of the winner.

Because the features are all there, eh. There are songs fast setting, resting on catchy rhythms and electronic sounds, with airy choruses that will engage and win the second listening. And there are above all the choirs open to Coldplay last way much like the radio, and in large quantities too.

The Bastille, with these features, you automatically candidates to sit among the winners. Why is there the place of the new winners, with one foot nell'indie and everything else in the mainstream, looking for the chorus radio but also the arrangement attractive, including a reference to the film and a song from the beach. Waiting for them there are already Gotye, Fun, Lana Del Ray, Florence And The Machine. Easy that are already unpleasant.

Among a quote from Twin Peaks and a chorus from the stadium (Laura Palmer), Bad Blood is a disc basically pleasant, with an excellent production work that show the best melodies (These Streets, the title track), a beautiful arrangement of items, which create harmonies always effective, and timely finishing dirty electronics that make interesting listening especially the more intimate pieces (Overjoyed, Oblivion). Unfortunately, the mechanism in the long run is a bit 'predictable and tiring, especially when it all boils down to find the easygoing chorus (Icarus, Flaws). Hardly the Bastille would change the history of music, but some individual in the ranking will place for sure. After all, if these are the coordinates of the new modern pop, could go much worse.