The Last Dinner Party let us feast on their debut album ‘Prelude to Ecstasy’
The enigmatic band strike all the right chords.
Photo: Press
The Last Dinner Party have been the band on everyone’s lips and it’s no surprise, really, considering they are actually quite good at what they do. Crafting an aesthetic pulled straight from a multitude of historical eras, religions, baroque and the like, and encouraging concert attendees to dress the same, the band have carefully created a close-knit bond with their fans.
With provocative, memorable lyrics and an unapologetic attitude, The Last Dinner Party have captured the Nation — and America, too, having sold out their headline tour there. Only in their early 20s, the band have already captured the hearts of their fellow musicians as well as us. Mentioned by Sophie Ellis-Bextor and awarded the Rising Star Brit Award by previous winner Florence Welch (Florence and the Machine), they won’t have to worry about fitting in amongst their peers any time soon.
It hasn’t even been a year since the band released debut single Nothing Matters, and yet they’ve since gone on to appear on Later… with Jools Holland, topped the poll for BBC’s “Sound of”, supported Hozier on tour, bagged a spot on the FIFA 24 soundtrack and performed on The Graham Norton Show. Is there anything this talented bunch can’t do?
It’s not every day you see a guitar band releasing their debut album less than a year after their first-ever single, but this band are not a typical band. In fact, they were gigging religiously and spreading the word long before their debut single was released. In the age of TikTok, if you have a catchy song and you can condense it’s catchiness down to ten seconds, then you’ll do fine.
Setting the scene with an orchestral number to start the record in true TLDP style, second track — and a key standout — Burn Alive starts before giving you a chance to realise the prelude is over. Coated in a luscious wax of stringent lyricism, the track proves an instant hit; starting the album off in a hopeful fashion — if this is anything to go by, this will soon be a noteworthy album.
Previously released single Caesar On A TV Screen, an empowering track that simply speaks for itself lyrics-wise, proves the 20-somethings can just about do it all. The accompanying video sees them take on historical roles, with singer Abigail Morris embodying the titular Caesar, and the whole band taking on the befitting roles as co-directors.
The Feminine Urge brings with it a sound I wouldn’t have been surprised to hear Marina (and the Diamonds) release back in her peak (sometime in 2014?). It’s hard to believe even for a second that this band hasn’t worked from the ground up to achieve everything they have, and to genuinely believe this notoriety could’ve come from a place other than sheer talent. What this band have is undeniable.
From all the singles released prior to the album, On Your Side is a contender for, quite frankly, the best one. Sung with meaning, written with love, this is a modern love song for the new generation. Soft spoken lyrics are backed by twinkling guitar and glittering keys, once again showing off the musicianship that has gotten the band to such a high status.
The midway point into the debut brings the stripped back Beautiful Boy; haunting vocals supported by dramatic strokes of the violin and piano before being joined by tender drums, never going too far and never needing to. Building into a welcome showcase of Morris’s ever impressive vocal range, the sound reminiscent of the greats that came before her: Kate Bush, Florence and the Machine, etc.
Gjuha is Albanian for tongue and just so happens to be the title of the next track, sung in a different language and short yet sweet, leading into the second single, Sinner. A fast-paced track with layers that unfold as the track crawls on, and a constant sound that makes it impossible to sit down and think of words to describe it.
Another single released prior to the album, My Lady of Mercy is one I left until the full release, as to not spoil the first listen. What starts as something you’ve become accustomed to so far into the album, it soon twists and expands into something completely different; orchestral, theatrical, yet altogether unexpected.
Portrait of a Dead Girl gives the listener a well-deserved break from the frenetic, energised tracks that have come before, tinged with lyricism that should see them win an Ivor Novello. Drifting sharply into the first taste we had from the band, top hit Nothing Matters, they somehow found the best place to jiggle their most popular track into; not last place, but penultimate.
Starting off in a creeping, slow fashion with the ending, Mirror, coming in just over five minutes long and building up in — what has become — true The Last Dinner Party.
Recorded a year ago with a full orchestra and massive ambition, the band have offered a debut worth all the flowers. Here’s to their year.
Prelude to Ecstasy is out now via Island Records.
