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10 Underrated Bastille Songs

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Bastille's lead singer, Dan Smith, is known for tantalising fans with promises of new music and has caused the word "soon" to be hated by all his fans. However, during the band's Reorchestrated Tour in April, Smith announced that the new album would be around in a "couple of weeks"

This promise, accompanied by the PR stunt that the band pulled on Wednesday morning, where all of their social media accounts were counting down to a quarter past midnight, has caused Bastille's hibernating fans to reemerge eager for more. Fans have speculated that the new single 'Quarter Past Midnight' will be released on the 9th May. 

Therefore, with less than a week to get into the Bastille mood and rediscover some songs that may have been forgotten, here are some seriously underrated new gems to add to your playlist.

'Campus', Wild World (Complete Edition), (2016)

Starting with the most recently released track on this list, 'Campus' is made for university students. Depicting the realities of life at university, it has some poignant lines such as the fact that students have to "use someone else's artwork and research" to take "you up in the world". This album is the epitome of experimentation, and that is evidenced in the rhythmic variation of this track, with the band using a glockenspiel, clapping soundclips before the first chorus, the motif of the synthesized voice as well as the drum kit. The experimentation pays off though, as the variation will make you want to get up and have a boogie in the library.

'Get Home', Bad Blood, (2013)

The success of this album meant that most of the songs are old favourites, but I wanted to draw attention to this one in particular. The harmonies throughout are pleasing to the ear, and the accompanying piano makes this an intimate track that sends shivers down your spine. It's stunning.

'Durban Skies', All This Bad Blood, (2013)

While this is another slow and intimate song, it is quite different from 'Get Home' as it has a dark and moody quality to it. The delicacy of 'Durban Skies' is a sound that is seen less on Wild World, where the band's focus was on creating a powerful and political album. While they do both extremes expertly, this track is reminiscent of Bastille's old and slower songs. 

'Skulls', All This Bad Blood, (2013)

This track stands out amongst all of Bastille's music as an anomoly. Upon release, the dark sound was received with shock and suggested a change in direction for the band. Although that change didn't occur, the bluntness of the lyrics is haunting and can be seen on Wild World

The song reappears on VS. (Other People's Heartache pt. 3), under the titles 'Fall Into Your Arms' and 'Remains', as they both approach the song from a slightly different angle. This is a trick that shows how the band are questioning the assumption that once a song has been released, it cannot be changed. 

'Bite Down (Bastille VS. HAIM)', VS. (Other People's Heartache pt. 3), (2014)

The entirety of this album is underrated. It is the perfect showcase of how Bastille can collaborate effectively with other musicians, from all types of genres, and create a completely new and unique sound. It is this successful collaboration that presents HAIM in a new style, so different from their usual music. Bastille showcase their strengths and talents, while simultaneously highlighting their own skill. For example, the way that this track moves from being sharp and staccato to smooth and sultry with complete ease. 

'Thinkin Bout You ft. O.N.E.', Laura Palmer Single, (2013)

This is a cover of Frank Ocean's track with the same name, but sounds completely different. Smith does not try to change his vocals to sound more like Ocean, in fact he utilises the unique nature of his voice to turn this into more of an alternative song, rather than an R&B one. The use of steel drums also adds a new dimension to the authenticity of this version, compared with the electronic tone of Ocean's.

'Dreams ft. Gabrielle Aplin', Panic Cord Single, (2013)

This cover of Fleetwood Mac's song 'Dreams' first appeared on Bastille's mixtape, Other People's Heartache pt. 2, in 2012. Both part 1 and 2 of this mixtape have been preserved on YouTube, but cannot be found anywhere else, which is a shame, because there are some real gems on there. This song was saved from that fate though, as Gabrielle Aplin put it on her 2013 single Panic Cord. The cover has all the haunting and stunning vocals of the original, but with the added wonder of how Aplin's angelic tone melds perfectly with the raspy nature of Smith's voice. 

'No Angels ft. Ella Eyre', Other People's Heartache pt. 2, (2012)

During the band's Reorchestrated tour they played 'No Angels', a cover of TLC's 'No Scrubs' with added remnants of The xx's 'Angels'. The audience went absolutely wild as it seems such a bizarre choice of song, being worlds apart from their own style of music. However, it is the surreal nature of the song that only adds to your adoration of it. Somehow Bastille have turned this noughties pop classic into a beautiful, melancholic ballad. Arguably, this is the best recreation of a song that the band have done, as even the quotes from the film Psycho added to the fragile atmosphere. 

'Adagio for Strings (What Is Love?) ft. Maiday', Other People's Heartache pt. 1, (2012)

Another mixtape treasure that I want to save from oblivion is this mashup of Samuel Barber's 'Adagio for Strings' and Haddaway's 'What is Love?', which appeared on Bastille's first ever mixtape released in February 2012. The seamless combination of these two songs echoes the skill that went into creating Bastille's huge hit 'Of the Night'. 

'No One's Here To Sleep', Naughty Boy ft. Bastille, Hotel Cabana, (2013)

'No-one's Here to Sleep' appeared in the background of a How To Get Away With Murder episode, and I immediately recognised Smith's iconic vocals. I am now completely obsessed with this song, and its appearance in How To Get Away With Murder really sums up the essence of the track. It is suspenseful and timid, with a tinge of regret and bitterness filtering through.

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