In the face of an LP as triumphant and genre-defining as 2024’s Prelude to Ecstasy, it’s tricky to believe that there was ever a world without The Last Dinner Party. Oozing confidence and creativity in equal measure, the London band’s groundbreaking debut left The Rock Revival asking, simply: what’s next?
It seems, though, that the answer was staring us in the face the entire time. Prelude to Ecstasywas, as its name suggests, just the opening salvo from a band set on carving out a dynasty in British music. Enter From the Pyre.
From the moment Emily Roberts’ guitar floats in to lay a foundation for the ever-impressive vocals of lead singer Abigail Morris on ‘Agnus Dei’, you’re braced for a second serving of utter brilliance. After all, what other band would use the Latin imagery of God’s sacrificial lamb to take a cheeky jab at a former situationship?
All the flamboyance and theatricality we’ve come to expect from ‘TLDP’ does not give way on From the Pyre, instead evolving into a wonderfully gritty, darker sound. This is particularly evident on sophomore track ‘Count the Ways’, which blends heavier guitar licks with a breathtaking display of Morris’ vocal versatility. Baroque themes are, as expected, a perfectly implemented ever-present on the album; classical influences are combined expertly with nostalgic guitar tones by producer Markus Dravs (Coldplay, Björk, Wolf Alice).
Single ‘Second Best’ dissects themes of insecurity as the title suggests, albeit in classic The Last Dinner Party fashion. With a beautiful choral opening fit for Sunday service, it’s not long before all the angst of a Monday morning comes blazing through in the form of Roberts’ furious guitar. The track’s backing vocals in particular are layered with Brian Wilson-level expertise to create a bafflingly good soundscape.
Fellow single ‘This Is the Killer Speaking’ embodies a parting message from former producer James Ford following his withdrawal from album two for health reasons: “have fun, be bold”. Rolling Stone writes that the message was a permanent feature on a studio whiteboard, and you can tell. Despite indulging in a little pop sensibility with its earworm chorus, the single retains a refreshing complexity through a fantastic diversity in tempo and styles throughout – a trait The Last Dinner Party excel in.
Whether through ‘The Feminine Urge’ or new track ‘Woman is a Tree’, Abigail Morris and her band hold solidarity as a central value. Gendered experiences shape this album as much as they did the last, and the same relentless pursuit of principle powers The Last Dinner Party’s approach to the issue of our age – Gaza. Just this summer, the band cancelled a slot at Victorious in response to the festival cutting The Mary Wallopers’ microphones during “free Palestine” chants. Morris fires back with ‘Rifles’. As full of helpless rage as it is mourning, the track stands shoulder-to-shoulder with any 21st Century protest song, and cements The Last Dinner Party’s place on the right side of history.
After a track unapologetically full-on enough to earn it comparisons to Black Sabbath’s ‘War Pigs’, From the Pyre opens up into a fantastically sombre piano-oriented section. Already a driving force behind the orchestral elements that set her band above the rest, Aurora Nischevi really comes into her own towards the latter section of the LP. The Last Dinner Party’s ability to write a ‘banger’ has been beyond repute since the moment they took to a stage, but ‘Sail Away’ – a reflection on fame – proves that a genuinely moving ballad is also well within their repertoire.
Partially penned when Morris was a child, ‘The Scythe’ stands not only as one of the decade’s most powerful depictions of love and loss, but also feels like a culmination of the band’s journey so far. Everything that has earnt ‘TLDP’ a place in musical folklore, from Abigail Morris’ warbling vocals to Emily Roberts’ flawless command of a guitar solo, shines in abundance on the album’s penultimate track, creating a truly ecstatic listen.
As with the last record, where ‘Mirror’ follows after the iconic ‘Nothing Matters’, The Last Dinner Party opt to close on a more subtle note with ‘Inferno’. It’s no lullaby, don’t get me wrong, but brings the LP to a conclusion that feels more satisfying than if ‘The Scythe’ had drawn the curtains. Contrary to its vulnerable final lyrics of “I’ve never known myself”, ‘Inferno’ rounds up an emphatic statement of intent from a band who will define the musical landscape for years to come. Building on, and in many ways exceeding the groundwork laid by a spectacular debut, From the Pyre brings the spotlight back to Abigail Morris and her band. All the world’s a stage, and it belongs to The Last Dinner Party.
Words by Dylan Seymour
