Adam KennyThe First Party that I saw The Last Dinner Party
Much like many people, I first became aware of The Last Dinner Party from their track “Nothing Matters”. I gave their debut album, Prelude to Ecstasy, a listen once or twice at some stage or another. Initially, I found myself quite liking the album but it unfortunately became one of those albums I always wish I listened to more. Whatever rotation of work I was into at the time took priority for me.
That was until earlier this year, at Hyde Park. A friend of mine planned a whole trip to go see Olivia Rodrigo at BST. I didn’t need much convincing as Olivia Rodrigo is a helluva performer. Girl in red just also happened to be opening for her. I didn’t realise until closer to the day but The Last Dinner Party were also opening. Girl in red alone was a sufficient enough reason for me to go. Along with a hot summer’s day in Hyde Park. The Last Dinner Party ended up being my favourite act of the entire night which was not an easy feat. Girl in red played some classics of hers as well as some really interesting really new material. Olivia Rodrigo had incredible stage presence and design. The Last Dinner Party, however, just had everything I was looking for and more.
Frolicking to a ripping guitar solo
The lead guitarist, Emily Roberts, was tearing an absolute hole in the world on guitar. She was incredible, paired with Abigail Morris’s vocals it was a match made in heaven. Abigail Morris was also galloping up on stage in this white dress that seemed to frolic and float around like she had her own gravity. The Last Dinner Party played quite a few songs off of their debut album, but also played some newer material such as “This is the Killer Speaking”, which was such a joy to hear live.
I had high expectations going into their sophomore record, From The Pyre. Prelude to Ecstasy was something I was constantly playing since coming back from London. A high bar had been set, and I was really looking forward to how the band would get above it. Thankfully, they’ve done so with as much ease and grace they had on stage.
From The Pyre, with love and hate
From the Pyre is a wonderful record. To start, the sound and aesthetic that they’ve gone for this time around keeps in line with their previous work whilst showing off some growth as both people and artists. Religion, motherhood, identity along with the trials and sins of love being the conduits of thought for the music. Sonically, the album has this riotousness that and hardness to it all. Going back to listen to Prelude to Ecstasy it has an innocence to it that’s not present on From the Pyre. A scornful maturity permeates the record on tracks such as “Rifle” that’s chorus has this battle cry as Abigail Morris asks a man does it feel good to ruin it all. “Count The Ways” harbours a grudge towards an an old lover. A tit for tat plays out that ultimately results in Abigail crumbling into the chorus accepting that the hate comes from thrown away love before becoming spiteful again in the next verse.
The album feels like The Last Dinner Party are going scorched earth, almost. Let whomever hurt them rot and fade away from their lives. Prelude to Ecstasy in comparison had a yearning and want like in “Nothing Matters” where Morris proclaims that nothing matters. Not even the girl before her, just let them be together and that’s it. Whereas on “Second Best” there’s a stark contrast where it’s not enough to just be together, there has to be no one else. “There’s always somebody downstairs” is uttered with a venom and contempt. Simply put, they’re fed up of it.
Breakups are hard, but hating them is easy
From the Pyre isn’t about a breakup album, it would be crude and unruly to sum it up like that. It’s much more venomous and disgusted than that. “This is the Killer Speaking” for instance has a back and forth between the “killer” and “their girl”. The girl in this instance, is a sucker for the killer’s kindness. Sadly, she is is quickly reminded that it doesn’t last for long when he gets what he wants. The killer is manipulative and has a control over “their” girl. However, the girl manages to escape this rouse and control, but what seems to be at her detriment. Ultimately though, she will have the last laugh as she drives the killer mad.
An allegory for a toxic relationship that stems from the killer’s manipulative nature and selfishness. That breathes a vitriolic retaliation from someone whom was initially so innocent but now wishes to be vindicated. The name of the album itself From the Pyre sounds like all of this hate, annoyance, rancour and disposition is being hailed from a pyre where one is burnt alive, much like witches were. Tying back into TLDP’s feminist rage and mistreatment of women which is all over their music, and rightfully so. Something that should be never undermined, nor disrespected.
Familiar sounds, new reason to love them
Compositionally, nothing too new is happening on From the Pyre. Guitars, drums, bass and strings with ensemble backup vocals from the band’s members sum up the majority of what you’ll hear. Experimentation isn’t the band’s forte, they don’t tend to veer away from what they don’t know. Which I think is actually one of their strengths on this record as there’s a clear but obvious growth in their capabilities. Vocally, Morris sounds far more mature and confident, nothing she was short of before mind your. She leads the charge on this album with exceptional vocal work. Emily Roberts’ guitar work is as stellar as it was live. Georgia Davies’ work on the bass creates a solid groove and offers so much to the atmosphere of the tracks, like on “Inferno”. Lizzie Mayland whom is the the rhythm guitarist perfectly coincides with Emily Roberts where there’s a wonderful synchronicity between the two that carries throughout the band. A tight and maturing band that know exactly what they need, and more importantly, want to do.
Overall
From the Pyre is one of my favourite album’s of the year. I’ve been listening to it constantly since it has come out. “Sail Away” a ballad of all things, is creeping up to be my favourite on the record, but I’m not without choice. I cannot wait to see the band live again one day, as I’m sure this time I’ll have a much better handle of the lyrics than I did in Hyde Park. A brilliant, venomous, and riotous album by a talented and gifted band.
