Few British bands in recent years have enjoyed the start that The Last Dinner Party grabbed. How would they follow up it? From The Pyre is released on the 17th of October on Island Records.
It almost seems daft to write that this is a surprising album, because it really shouldn’t be. Debut album Prelude to Ecstasy didn’t exactly shy on the baroque theatrical front. Then the choice of singles, launching the return with ‘This Is The Killer Speaking,’ spoke volumes about the direction they were going in. It is just there was such a world of possibility open to them after that wonderful debut, number 4 on our Albums of the Year for 2024, that doubling down on that is quite surprising. You wondered if they might go more pure pop, or more full-on rock. They most definitely have a proper rock album in them and I am greedy for it.
What the album does have is some incredibly intricate tunefulness. No one can ever doubt the sheer musicality of this group, the level of instrumental and vocal skill is always high. There are some full-on guitar solos, though they are generally buried right at the back of the tracks where Emily Roberts is sometimes permitted to cut loose. Rather than topping what came before they seem intent to have fun, but also to push the envelope of their default style as far as it will go. Whereas Kate Bush always felt like a template for them they lean surprisingly close to ABBA at times on this one. ‘Second Best’ is one of a number of tracks that reference Sparks, however the keys and harmonies are like ABBA with added shredding.
Many of the tracks reference more mundane things but turn them into a moment of extravagance. ‘This Is The Killer Speaking’ turns being ghosted into a Morricone-esque Western. It certainly feels like one of the quirkier singles to have had such strong Radio One support this year.
‘Rifle’ stands out as one of the more extraordinary tracks. Full of stop-start guitar, amazing harmonizing and Kate Bush vocal theatrics. In the last-minute Abigail Morris switches into full on French for the last verse before they hit near operatic ranges. Ambition is not something they are short of.
‘Woman is a Tree’ is the most theatrical work presented here. Beginning with a cappella harmonies that could be a gathering of spirits in a Shakespeare play, a slow and simple track of acoustic guitar and drum takes form as they consider the many aspects a woman takes on.
Whilst nothing quite hits you in the gut the way ‘Sinner’ or ‘Nothing Matters’ did on a first listen, the overall album as a collection of songs is very strong. The craftmanship (or rather craftwomanship) is at a very high level. If you didn’t get on with Prelude To Ecstasy nothing here is going to change your mind. If you loved Prelude To Ecstasy you will very much enjoy this follow up, you might even love it more. My only hesitation is that my expectations were so high, I am not sure they have quite been satisfied. I still think they have more in them and will produce truly extraordinary work in the future. In the meantime, this is enjoyable enough, more of the same rather than reinventing the wheel, but it is a very impressive wheel on a fast moving and intricate carriage.
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