I can confidently say that The Last Dinner Party’s debut album, “Prelude to Ecstasy,” is one I’ll have on repeat for a while to come. They break into the music scene with unapologetic modernity and are a breath of fresh air for the music industry, simultaneously infusing their work with nostalgia and traditional themes, both musically and thematically.
Released on the 2nd of February 2024, this album has been long-awaited by both skeptical critics and eager fans alike, and I, for one, fall into the latter category.
We are met with a theatrical opening full of suspense and grandiosity as The Last Dinner Party sets the stage for their album in “Prelude.” The flutes mimic the vocal range of lead singer Abigail Morris and set the listener up with an instrumental layout of what’s to come, in both structure and tone. This is such a stunning opening to an album and a beautiful piece in itself.
“Burn Alive” is where the first themes of self-destructive behavior, femininity, and complex relationships get explored. Through this first track, The Last Dinner Party makes their lyrical entrance into the narrative of self-growth and adaptation; an interesting topic for a debut album. The staccato in Morris’ voice during the chorus builds that idea of power that they portray so visually on stage already, and it’s the perfect introduction to this already self-assured band.
This album perfectly encapsulates the complexity of femininity through songs like “Caesar on a TV Screen” and “Feminine Urge,” to name a few. The constant tempo changes during “Caesar on a TV Screen” can seem jarring but are representative of the building emotion during the chorus vs the soft feminine tone of the verses. This is probably my least favorite track on the album, although not musically bad by any stretch of the imagination. I find the switch in tempo jarring in a way that something like “Lady Of Mercy,” later in the album, does successfully.
A massive standout for me on this album is “Feminine Urge.” It tackles the idea of objectification over emotion and is, in my reading of it, a letter to hyper-masculinity which leaves a lack of commitment and a trail of emotional wounds in its metaphorical wake. The vocal range of Morris in this song is just stunning, and I think her decision to switch between the breathier falsetto and the more powerful chest voice perfectly reflects the dichotomy of emotion and pain in this song.
“On Your Side” offers a gut-wrenching look at the exploited vulnerability that comes with unreciprocated love, the unquenchable need to please, and the uninvited emotions attached to one-sided relationships, from the mouth of an unrequited lover. Once again, the falsetto paired with the powerful chest voice creates a blend of tenderness and anger. The return to the orchestral outro ties this song into the theme of the album beautifully.
In keeping with the theme of this half of the album, there’s a deconstruction of traditional gender roles in the song “Beautiful Boy.” The title itself subverts the stereotypical language associated with masculinity. This song touches on the important themes of gender and what that has come to mean to a lot of people, as well as a theme of the reduction of femininity to what that singular word has come to represent. The use of a flute on this track perfectly accentuates the subversion of stereotypes and is also a stunning display of top-quality musicianship from the lead guitarist and flutist Emily Roberts.
Halfway through this record, it takes a turn through the second instrumental track, “Gjuha.” This is reminiscent of religious choral pieces and signifies a turning point in the record to begin the themes of religious references through the lens of the female perspective. I think this, paired with the intro track and the instrumental piece that the album ends on, is such a clever way of curating an album and leaving the listener with an incredibly clear narrative. It shows the thought that has gone into creating this piece of art, and I can only imagine what this band will come out with as their next release.
Both “Sinner” and “Lady of Mercy” were released as singles leading up to this album, and I think they were perfect choices. They were provocative enough to cause a stir amongst critics, catchy enough to build a fan base, and complex enough, both thematically and musically, to showcase the talent of this entire band. This was the first time we’d been introduced to The Last Dinner Party, and it gave them a perfect platform on which to hone their live performances (opening for Hozier on tour being a highlight, I’m sure).
“Nothing Matters” is a perfect follow-up from to previous tracks. This song encapsulates what it feels like to give up on the emotional part of relationships and accept your fate as an objectified, interchangeable piece of flesh for the consumption of men, who will make you fit their own narrative, with little regard for the consequences; a general theme throughout this album. The punchy staccato, yet again, represents that anger and the acceptance of the little power you have left as a woman being used for sex. This song has a feeling of complete resignation to nihilism and a nod to absurdism because, as they very bluntly point out, “nothing matters.”
Ending with their 5.5-minute, self-referential song “Mirror” is bold but somehow in keeping with the rest of the album. What lengths would you go to for fame? The Last Dinner Party is willing to find out. Not only is it self-referential, but it also talks directly to the listener, inviting them to consider their own part in this industry, which is what makes this the perfect place to end. They’ve left the listener with such strong themes that the only logical thing to do is to give them a dramatic minute-long instrumental outro.
“Prelude To Ecstasy” is one of the most well-curated, musically impressive, and thematically poignant debut albums I’ve heard in a long time, and I can’t wait to see how this band executes their upcoming tour and the releases that will inevitably follow.
@anna.h_photos
Role: Photographer/ Journalist
Available for: Gig and press phototography, album shoots, music videos, tour coverage
Qualification: 1st class BA photojournalism degree
First attended gig: First ticketed gig I remember is Newton Faulkner but there was plenty of live music that I saw growing up in the folk scene in Cornwall
First gig shot: Rattler Fest for all three days
Dream gig: It's too hard to pick just one, and i'm lucky enough to have been able to shoot some of my bucket list bands already, so top 3 would have to be Frank Turner, The Hives, and Twenty One Pilots
