’…elevate their sound in all of the correct ways, showing new facets of their art that are varied, creative, and at times wholly unexpected…’
In recent years, few artists in the indie scene have caused quite the furore that The Last Dinner Party have managed to. Birthed from the Brixton Windmill scene and inspired by a wealth of artists from Queen to HMLTD, the band spent 2021 honing their sound on the live circuit, and were selected to open for The Rolling Stones at Hyde Park in 2022. In 2023, the band released their debut single ‘Nothing Matters’, and were met with equal parts celebration and genuine anger. This was a surprisingly grandiose yet accessible spin on indie rock, yet the fact it was delivered by five female-presenting individuals from admittedly privileged backgrounds was too much for some; accusations of being an industry plant abounded, and musicians and listeners alike were chomping at the bit for an opportunity to tear this band down.
Unfortunately for the naysayers, the band’s debut record, ‘Prelude to Ecstasy’, made for a fantastic listening experience, grappling with themes of feminism, generational trauma, and sexual expression in bombastic and often brilliantly catchy ways. Between their musical talent, captivating live presence, and strong moral fibre, the band very effectively silenced much of the negativity, and cemented their place amongst a phenomenal new wave of indie musicians. Even so, nothing is guaranteed, and the potential for bring a one album wonder remained.
Thankfully, with ‘From The Pyre’, that future has been resoundingly avoided; this is a sophomore record that builds upon their debut in every conceivable way, leading to a collection of tracks that are as experimental as they are captivating. Jazz swagger plays with art rock bombast, delivered with equal measures wry humour and crushing emotive weight; inspired heavily by vocalist Abigail Morris’ recent breakup, the record echoes with both a fierce determination to move on, and a deep, desperate sense of denial. Take the lead single ‘This Is The Killer Speaking‘ as a perfect example of this, with its tempo oscillating between brooding, country-flecked verses and jazzy, Broadway-leaning choruses that beg you to sing along. Morris delivers lines such as ‘I hope your back is healing from that brutal flaying/And your coat’s still stained with me‘ and ‘I’m doing time and I’m down so bad/Hope my television appearance drives you fucking mad!‘ with a brilliant sense of scorn, but also with just a hint of mournful regret; she seeks to position herself as the fumbled rather than the fumbler, but still does so with a sense of yearning for a love that could have been.
‘Second Best‘ opens with cascading choral vocals, before rolling forwards with driving guitars and punchy percussion, and a vocal performance that evokes Kate Bush. The choruses are simple yet effective, contrasted by a bridge that is brimming with pure, swaggering melodrama and weighty grooves. ‘Count The Ways‘ places blues rock grit next to sunshiny jangle-pop, as Morris laments over a lost love and a sense of resolution that never seems to arrive; even on her deathbed, she yearns for a love that has long since moved on to another. Eschewing the grandiosity of much of the rest of the record, ‘Sail Away‘ sees Morris’ sumptuous vocals draped over a warm piano performance that manages to perfectly both keep the spotlight on Morris whilst lending moments of frolicking naivety with trills and unexpected rhythmic stumbles.
Undoubtedly, however, the record’s highlight comes in the form of ‘The Scythe‘. Everything about this song, from Morris’ tender yet striking vocal performance, to Emily Roberts’ soaring guitar solo, to the arpeggio strings during the second verse captures the imagination beautifully. Morris sings of a doomed romance with a hope that the next life may treat it kinder, and it is shiver-inducing to behold; despite all of the anger that she has carried throughout the rest of the record, there is an unexpected sense of unconditional love on ‘The Scythe‘ that makes for a genuinely magnificent conclusion to that thematic arc, and it is actually a little disappointing that ‘The Scythe‘ is not used as the album’s closer. It makes for a beautiful contender for Song of the Year that truly cements The Last Dinner Party as a true force to be reckoned with.
Aside from a brief lull in momentum during the album’s midsection, there is very little that can be criticised on ‘From The Pyre‘, and this record is certain to find a high spot on many end of year lists. What The Last Dinner Party have done is elevate their sound in all of the correct ways, showing new facets of their art that are varied, creative, and at times wholly unexpected. To silence all of the critics is an impossible task, yet by remaining true to their vision and refusing to compromise their art to appease a vocal minority, the band have certainly made any allegations of being overrated industry plants null and void. If there is ever to be a book on avoiding the sophomore slump, then a chapter should be entirely dedicated to this majestic affair.
RATING: 85/100 – Mostly Excellent
For Fans Of: Picture Parlour, The Dear Hunter, Florence + The Machine, The Beatles, The Last Shadow Puppets
Physical copies are available to purchase here.
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