By: Shawn McKee
After years of touring and gaining popularity through word of mouth, British indie rock band The Last Dinner Party made an indelible impact on the scene.
Their 2024 debut album, Prelude to Ecstasy, proved to be an art rock triumph, further solidifying their status as one of the most original and innovative bands of the post-COVID era. Almost two years later, their second album, From the Pyre, sporadically delivers on the full potential of a band at the height of its powers.
How does one follow such a strong debut? Rock bands like The Strokes, The Killers, and Pearl Jam (to name a few) all had to prove their first success was no fluke, while constantly living in the shadow of their debut.
I offered much praise to Prelude to Ecstasy, considering it a nearly perfect album of unique and powerful songs. It embodied everything I enjoy about modern British rock (e.g., complex, multilayered arrangements, musical depth, grand production, etc.) So, how does the latest album measure up?
I tried my best to temper expectations and listen with an open mind. Hearing a new album for the first time is always a special experience, regardless. Sometimes the music just clicks, other times it doesn’t. From the Pyre didn’t initially resonate, but like many similar works of quality, it took some time to grow on me. It is not a redux of the first album nor a completely different direction. It’s a continuation of their musical journey.
The band described the album as “character-driven,” and its multiple themes weave an existential tapestry under the banner of earthy warriors. The album cover features a collage of band members posing with various set pieces artfully arranged up a grassy hill.
A top the hill, the band ceremonially dances around a pyre near a red neon sign flashing the album’s title. It’s a cover replete with historical references, random iconography, pagan and Christian allegory, vintage fashion, and the baroque style the band is known for.
It also effectively represents the overall tone of bleakness, hope, sacrifice, and survival delivered throughout the album’s forty-two minutes. Totaling ten songs, not a single track wears out its welcome; however, it’s far from perfect.
The music, at best, is fresh, riveting, and cathartic. At worst, it’s meandering, scattered, and even bland in some areas. They also experiment with a range of harmonies (not always to great effect).
The Last Dinner Party is comprised of lead vocalist Abigal Morris, lead guitarist Emily Roberts, rhythm guitarist Lizzie Mayland, bassist Georgia Davis, and keyboardist Aurora Nishevci. Despite dominant percussion throughout most songs, the band has no permanent drummer.
As talented musicians, each band member brings a unique edge to their instrument. They also uniformly provide backing vocals, often culminating in a harmony reminiscent of Texas indie-rock band Eisley.
The album initially delivers a solid four-song lineup that includes “Agnus Dei,”“Count the Ways,” “Second Best,” and “This is the Killer Speaking.” The songs are memorable, catchy, oddly uplifting, and more impactful with each listen. “Second Best” is a dynamic rock number that exemplifies the band’s best qualities. “This is the Killer Speaking” is another standout, representing subtle darkness amidst an upbeat backdrop.
The next song, “Rifle,” has moments of greatness amidst an operatic chorus of dread. The album then slows down with three vocally driven songs with minor percussion and quiet piano. My attention waned during “Woman is a Tree,” “I Hold Your Anger,” and “Sail Away,” but there is undeniably something to be found in each track.
The momentum returns with the standout rock ballad “The Scythe,” before closing on a confident note with “Inferno.” Equally ambitious as their debut, From the Pyre has a lot to unfold amidst references to Joan of Arc, the Middle Ages, love, death, war, and the apocalypse, among other themes.
While it doesn’t carry the same weight as their first album, the band should be commended for their willingness to explore new directions. Bands like The Last Dinner Party remind us that both culture and art are very much alive and well, despite evidence to the contrary.
Rating: 3/5 Stars
