In many ways, the image of the apocalypse as one nihilistic night out conjured up the feeling of no future, or a future not worth living which brings us to their new album 'Give Me The Future', where Bastille do an about-turn that's less apocalyptic dread than electronic dreamscape fantasy where anything is possible. Politics, social constructs, perceived ideals - throw them all out the window because in Bastille's future paradise, anything goes, and there are no rules. Well, almost. Like all of Bastille's music so far, this album is framed and perfectly pitched with an innovative and thoughtful concept that defines the music. Similarly, Bastille know that a good concept is no good without some good tunes, and here they deliver their most engaging, vital and flat out brilliantly fun record.

There was a lot of world-building going on as they pondered Bastille's creative future during the pandemic, but it all came back to one overriding principle. "There was a lot to explore and think about before remembering that we're making a pop album, and during a pandemic. I just wanted to make an album of fucking great songs that you could dance to and forget about that stuff," says Dan, before adding with a laugh in that self-deprecatingly endearing style: "Annoyingly, because we are us, I find it really hard to switch off the bit of my brain where I'm like, 'Just make it fun! And about dancing!' I just can't do that, so we ended up making these futuristic dance tunes about wanting to correct the wrongs of society."

So, what does Bastille's vision of the future look like? The future imagined in the sprawling epics of Dan's beloved science fiction films like 1982's legendary Blade Runner has already been and gone. We have surpassed almost every conceivable innovation and great leap forward. Although annoyingly still no one has invented teleportation. Longtime Bastille lovers will know Dan is a massive film fan. Film permeates almost all his work in some way. He really knows his stuff and how to tie it into a musically interesting concept. 'Give Me The Future' is perhaps the ultimate realisation of his cinematic vision. "Once we decided it was science fiction, it allowed everything to click into place, lyrically, sonically, mentally," says Dan of the album's eureka moment. "It's just really fun. The film geek in me gets to imagine creating a film universe. We lean into that. It helps all the people that we collaborate with get their head into what we're trying to do and hopefully bring some different perspectives and angles on it."

The album's genesis, though, was different to the multi-layered concept it became. "I would be lying if I said we set out to make this album," explains Dan. "We started making quite a different record; a much more sprawling album that was all about escapism. We've always been interested in escapism from the beginning, having songs like 'Icarus' 'Laura Palmer' and 'Pompeii' on our first album, which we made in a windowless basement where it was all about imagining yourself into real or fictional universes. I was really interested in the psychology of escaping and the lives we can live within our heads, and the different versions of reality that can exist. The fact that we can daydream our way out of a situation."

Dan's curiosity about the power of the mind to wander was further inspired by a stand-up comedy show he happened to chance upon in Edinburgh. "It was all about this particular comedian's coping mechanism for childhood trauma using a thing called maladaptive daydreaming, which was a thing I hadn't heard of properly. I read about it and was really interested in the human mind's ability to cope or not cope and avoid certain things that are happening now or happened in the past by taking us to other places," says Dan.

From that spark, he knew they were onto something. "That was where the idea for the album started, and it became this big sprawling thing," he says excitedly. The album certainly goes deep into a lot of very modern malaises or inspirations, depending on your perspective. "Some of it was about technology, and some of it was about the human mind, and it was jumping back and forward in time," explains Dan. "It was only really going down the line with it and realising that it was definitely not just one body of work that we gravitated towards these futuristic songs. That was at the beginning of the pandemic, and we were living through lockdowns. Even though there's a bunch of stuff there about our relationship with technology, obviously our relationship with technology on a day to day and minute to minute level has totally heightened in every way. That increased our interest."

For a self-confessed sci-fi geek like Dan, creating this record's world was like having Christmas every day. He revelled in immersing himself in it. "It was really fun to fall down a science fiction black hole," he says. "I watched loads of sci-fi. I thought about what sci-fi is trying to do historically. The idea of people creating new fictional versions of the future that are trying to tell us something about our present is really fascinating. It's an interesting genre where there are all of these different versions of the future that exist. Loads of them that we've surpassed both in terms of time, we've lived beyond these almost imaginable versions of the future and loads of the tech we have now is way more advanced than technology in science fiction films of the past which in itself is interesting. We live in a time when the future seems slightly bleak and uncertain. There are quite a lot of people loudly voicing their desire for change and the fact that the future that we're on course to hit is not okay."

A key point of the album is that it deals with themes like the increasing power and influence of technology in a sympathetic and non-judgemental way. It's undeniable that there is joy to be found in losing yourself in an online world for many people. It's something Dan can very much relate to. "What we've tried to talk about is that people spend hours and hours of their day on their phones or playing video games because not only do people want a reason to be distracted, but because they're really fucking fun and really great," he says enthusiastically. "It can be totally nourishing, it can be communal, it can bring people together, it can be madly educational. It can be such a great beneficial experience on so many levels. Obviously, with anything that's really fun, you can take it too far where these things become completely intoxicating and addictive,"

Escapism in the form of the everyday is the theme here rather than the wild abandon of the previous album. "The idea of escaping reality can be healthy, up to a point. Like on 'Doom Days', it was looking at that on a micro-level when it comes to hedonism and drinking ourselves out of our brains. On this album, it's looking at this other thing that's much more applicable to nearly everybody. I think about the idea that most of us have our phones very close to hand at all times. I'm fascinated by the image of a person at home in their pants on the sofa with a VR headset on, and in their headset, they are a fucking space exploring superhero. It's an obvious image, but it speaks to all of us."

There are songs on the album like 'Distorted Light Beam' and 'Give Me The Future' that are about the idea of plugging in, and that could be literal or metaphorical," he continues. "We wouldn't fucking do it if it wasn't really fun and exhilarating and a bit addictive. We wouldn't spend hours and hours doing that stuff if it wasn't pretty amazing at points. It's about looking at ways of being and expressing yourself and asking why they are so tempting and so addictive and bad. I think about people that just want to sit with the headset on playing video games and chatting to their mates all the time. It's the modern-day equivalent of going to the park or something. Who's to say that's not anymore valid as a way of speaking to someone? Maybe that level of removal would allow loads of people who find it hard to express what they want. It's all very complex and nuanced, but I think that's the world that we live in, and it's really interesting."

Obviously, the internet and the online world are now inescapable, and today's kids are super smart and immersed in all manner of creative and exhilarating online subcultures. Dan himself is constantly inspired by Bastille's creative young fans, and he wonders if he would be any different if he came of cultural age in today's online social generation. "Maybe I'd be more of a nerd with access to all of the weird cinema of the world. I'd probably be even stranger, and I'd probably have an annoying podcast," he laughs.

He ponders how the cultural environment Bastille find themselves in is vastly different from when they started in a distinctly positive way. "People now don't care about what's new; it's about what's new to them. We live in a time when monoculture has almost entirely disappeared. When something genuinely cuts through, it's Squid Game or Billie Eilish or whatever. It's just harder to reach everybody, even though it's technically easier than ever to reach everyone. We all curate what we want to watch and listen to at any one time. All the old guard of radio stations that we'd all listen to or TV shows that would hit anyone across the country, there are still a couple of them, but generally, they've gone away. That's interesting and really challenging," he says thoughtfully.

In the early days of Bastille, they were regularly dogged by the last tedious knockings of the ingrained monoculture that's now being swept away. "When we started as a band, I remember butting heads with a bunch of journalists who were pissed off at us for not defining ourselves as indie or pop or rock," he says. "At the time, we'd made an album that had all different kinds of production styles, and sonics and our music taste was all over the place, and I think you can hear that in the album, particularly if you take my voice off it. At the