Bastille’s fifth LP, &, is an ambitious concept album that revolves around the theme of a “collection of story songs” inspired by extraordinary historical and fictional figures. The lineup includes renowned personalities such as the poet Emily Dickinson, the mythological figure Eve, expressionist artist Edvard Munch, singer-songwriter Leonard Cohen, and Greek mythological figure Narcissus.
With this unique approach, Bastille blends modern music with rich narratives, creating a fascinating interplay between the past and present.
A notable characteristic of this album is that every track title features an “&,” a choice that reinforces the album’s connective tissue of intertwined stories and relationships. Rather than promoting individual songs as singles, Bastille opted for a staggered release strategy, unveiling the album in four parts. The first set of four songs was released in September, followed by two more, with the third part compiling the earlier releases alongside eight additional tracks. The band’s unorthodox promotion strategy, coupled with this symbolic use of the “&,” sets the stage for a thematic exploration of connection—whether personal, historical, or mythological.
The album opens with “Intros & Narrators,” the sole introspective track in an otherwise outward-looking collection. Here, frontman Dan Smith explores his own shyness, fears, and self-doubt through understated folk acoustics. It’s a simple yet sincere reflection on his internal world, without the dramatic build-ups that might overwhelm the song’s modest nature.
“Eve & Paradise Lost” and “Emily & Her Penthouse In The Sky” follow with similarly gentle soundscapes, offering moving, lyrical portraits of their titular figures. In “Eve & Paradise Lost,” Smith taps into the psyche of the first woman in a way that mirrors Don McLean’s exploration of Vincent van Gogh in “Vincent.” Lines like “Though we both ate the fruit, my love” capture the emotional depth of Eve’s story. Similarly, in “Emily & Her Penthouse In The Sky,” lines such as “Oh, she’d been busy pouring chaos on the page. Making waves, they crashed too late” reflect Dickinson’s struggles with isolation and creativity.
As the album progresses, Bastille introduces a wider variety of sonic elements. “Blue Sky & The Painter” marks a departure from the folk-inspired acoustic beginnings, venturing into more rock-oriented territory with vibrant guitar distortions. “Drawbridge & The Baroness” follows, adding dynamic guitar riffs, a choir, and Smith’s falsetto to a track that explores connections, both meaningful and fleeting. “Marie & Polonium” brings a chilled, beach-like atmosphere, while “Mademoiselle & The Nunnery Blaze” indulges in crooner-esque tones, subtly incorporating French lyrics to complement its smooth, easy-listening vibe.
Many of the tracks, such as “Essie & Paul” and “Zheng Yi Sao & Questions For Her,” retain the acoustic, folk-driven foundation but are elevated by lush string arrangements that add emotional weight. Throughout the album, Bastille’s ability to musically capture the essence of each character stands out, with the exception of “Leonard & Marianne,” where references to Cohen’s life, like taking “Manhattan” and the “Chelsea Hotel,” feel slightly forced, lacking the same emotional depth as other tracks.
In sum, & is a bold and original project that not only showcases Bastille’s musical versatility but also their knack for storytelling. The album’s innovative structure, thematic depth, and sonic diversity make it one of the band’s most captivating works to date. And with more music on the horizon based on this concept, it seems the journey is far from over.
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