Tag: The Last Dinner Party

Album Review: The Last Dinner Party – From the Pyre (Island Records)

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 It’s a cover replete with historical references, random iconography, pagan and Christian allegory, vintage fashion, and the baroque style the band is known for.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

Album Review: The Last Dinner Party – Prelude to Ecstasy (Island Records)

By: Shawn McKee

My introduction to indie rock band The Last Dinner Party was simple; they caught my attention after being featured in my weekly Spotify playlist. I’d been introduced similarly to plenty of new music before, but this band stood out.

Their song “Nothing Matters” instantly clicked. Its energetic and mesmerizing sound signaled the arrival of something special. Their accompanying music video had a stylish, cinematic quality that matched the ferocity of the song. The band, it seemed, were true artists. But who were they, and where did they come from? The answer; they were a UK band with two singles and a debut album on the way. That album, Prelude to Ecstasy, (released earlier this month) proved to be worth the wait.

The Last Dinner Party is made up of vocalist Abigail Morris, lead guitarist and multi-instrumentalist Emily Roberts, guitarist Lizzie Mayland, bassist Georgia Davies, keyboardist Aurora Nishevci, and drummer Rebekah Rayner (during live performances). All members contribute vocals and collaborate on songwriting. Their talent and chemistry seem effortless, but success didn’t happen overnight. They officially formed in 2021 and spent much time, as explained by vocalist Morris in an interview, honing their sound with years of live performances and touring to build word-of-mouth. Such combined efforts seemingly paid off in a growing fanbase that catapulted their recent debut to number one on the UK charts. Nonetheless, their innate ability to craft haunting, emotive, and uplifting songs remains an anomaly within the modern musical landscape.

Their baroque-inspired look and theatrical persona display gothic sensibilities amid Victorian-era fashion. Their style evokes the classic works of William Shakespeare, Jane Austen, William Makepeace Thackeray, Edgar Allan Poe, and others. Their songs project themes of heartbreak, desire, betrayal, self-reflection, and loss of innocence. They’ve drawn comparisons to Siouxsie and the Banshees, Kate Bush, Warpaint, and even ABBA, with clear influences of David Bowie.

Prelude to Ecstasy delivers a fresh, cohesive sound for those attuned to its broader ambitions. It stands as a striking work of originality from a group of exceptionally talented musicians. Surprisingly, there is little filler material. The album is meticulously arranged to showcase a dizzying array of songs each uniquely different than the last. The strength of “Nothing Matters” and the singles to follow were no fluke. Prelude is a dedication to form.

They open with a brief orchestral overture followed by the opening track “Burn Alive,” immediately setting the mood. As if written by candlelight, its brooding melody and simple guitar intro shift to an up-tempo synthesized blend of stark vocals and bombastic sound. Upon hearing this track for the first time, I was confident the rest of the album was going to be good.

The next song, “Caesar on a TV Screen” carries the momentum with a near-perfect blend of varying sections. The song shifts from melancholy to upbeat rock and back, reaching a heightened crescendo. The music video features the costumed group performing Shakespeare’s Julius Caesar in three acts. “As a child,” Morris sings, “I never felt like a child. I felt like an empire with a city to burn.”

“The Feminine Urge” blisters as a real standout. Not a moment is wasted throughout the song’s multilayered harmonies, thumping bass line, and exquisite chorus. It also displays some of Morris’s impressive range and equally artful lyrics. “I am a dark red liver stretched out on the rocks; all the poison, I convert it and I turn it to love; Here comes that feminine urge, I know it so well, to nurture the wounds my mother held.”

“On Your Side,” comes across as a sincere love song of quiet devotion. It seemingly represents the band at its most vulnerable and boasts some great piano arrangements and harmonization. “Beautiful Boy” is a quiet but rewarding song that takes some warming up to. The closest thing to a filler material would be the seventh track, “Gjuha,” which acts as a brief lead-in to the band’s second single, “Sinner,” an all-out rock song.

Its brief three-minute runtime is proof enough of how heavy the band can be when they want to. Their thundering bass lines, echoing guitars, and precise drumming deliver an irresistible groove. “My Lady of Mercy” is another great track fully assembled to strike at the core. Its flawless shifts from climbing verse bars to blasting guitars in the chorus are a high point.

“Nothing Matters” follows as undoubtedly their most popular song and current anthem. Subtle F-bombs aside, it’s a meticulously crafted musical number with an infectious and elating four-bar beat. The album’s last track, “Mirror,” marches on as a confessional reflection of things that cannot be changed.

Reportedly, most songs on the album were derived from diary notes of band members and used to further shape overall themes. Their approach delivers a strong debut and testament to the universal power of music. I can’t wait to hear more.

Rating: 4.5/5 Stars