It’s been close to two years since I wrote my first Campus Times review: an analysis of The Last Dinner Party’s debut effort, “Prelude to Ecstasy.” Not only was writing about that album a foundational moment in my music criticism journey, but it was a damn treat to listen to. My enjoyment of that record has not dampened over time, and I was excited last July when I saw that the band was already gearing up for their sophomore album after dropping the lead single, “This is the Killer Speaking.” The band’s first album was such a tasteful, well-written rock record with more distinct personality than you usually see in a debut, and I was curious to see if they could avoid the dreaded sophomore slump.
In my opinion, The Last Dinner Party has outdone themselves on this new LP, titled ‘From the Pyre”. They continue to find gold by mining their blend of glam rock and baroque pop with snappy choruses and memorable lyrics and retread this ground entertainingly, while also delving into new ideas to keep things fresh.
The opening track, “Agnus Dei,” kicks off the album with bright guitar melodies, triumphant pianos, and a tongue-in-cheek double-meaning refrain of, “Was that enough to make you come / Am I enough to make you stay?” This leads into a bright chorus with the memorable lines, “Oh, here comes the apocalypse / and I can’t get enough of it.” It’s a great tone-setter for the album – showing fans that the band is still bringing killer vocal hooks and memorable instrumentals to the fray. It does everything an opening track should in my mind: kicks things off with a bang, warns you of what’s to come, and pushes your boat from the dock to send you on your listening journey.
The aforementioned lead single, “This is the Killer Speaking,” was a great hype-builder for the record. It’s classic The Last Dinner Party fare: tightly-produced, big hooks with gang vocal “aaaahhs,” and an interesting narrative that makes their songs memorable. This song has a grand switch at the chorus, that on first listen I found a bit jarring, but I’ve come to find it very fun on relisten. Lyrically, it tells a story of what seems to be a spurned lover in a relationship getting their vitriol out. The band doesn’t take the easy way out in terms of lyrical cliches; instead, we get lead singer and lyricist Abigial Morris delivering standout lines like, “You look like a weeping saint with your infected eye,” and “Hope my television appearance drives you fucking mad!” The band has always leaned into theatrics, and it’s delightfully put into play here.
“The Scythe” may have replaced “Nothing Matters” as my favorite song by The Last Dinner Party. This was the album’s second single, and even on first listen I was blown away by the incredible chorus sported on this song. It is quiet and spare during the verses; only a gentle, cresting wave of jangling guitars and beautifully-layered vocals create a heartbreakingly enchanting atmosphere. The title references death, and was written by Morris over nine years ago, “before [she] had known anything about grief or heartbreak,” which is fascinating given how hard it hits. “Don’t cry, we’re bound together / Each life runs its course / I’ll see you in the next one / Next time, I know you’ll call,” the chorus reads, and it is delivered so beautifully that these simple lyrics become devastating. The track concludes with a soulful guitar solo that brings the whole thing together. It’s a fantastic song, and one of my favorites of the year.
There are few dull moments on this otherwise shining record, but the most notable is “Woman is a Tree,” a track that, despite its cool lyrics (“Oh, my darling is dripping in sequins and milk / The fur of a fruit bat, our limbs line the fields”) builds and builds just to unceremoniously end before anything truly interesting happens. For a record so sure of itself, this song sort of slumps in the final leg, making what was previously a somewhat intriguing progression not worth the wait. This is the only track I’d call close to weak. The rest of the record is much better than this track. I wouldn’t even call it bad, just sort of lukewarmly disappointing.
Nevertheless, The Last Dinner Party has dazzled me yet again. I was worried that lightning might not strike in the same place twice, but the band is two for two in my eyes. They continue to be one of the most fun rock acts in the modern age, and their blend of 17th and 21st century styles continues to impress. I appreciate that this album didn’t just feel like “Prelude to Ecstasy” II and instead built on the ideas constructed there to show that the band wasn’t good for just one record. I already anticipate where this band is going to go next. And as of right now, they have my heart.
