1st February 2024
by Willow Marie
It seems as if British indie-rock band The Last Dinner Party have the whole world waiting with bated breath for their highly anticipated debut album, ‘Prelude to Ecstasy’. From traipsing around the sweaty taverns of London to opening for huge artists such as Florence + The Machine, Hozier and Lana Del Rey, this band has managed to have millions of fans swooning over them in just under a year since releasing their first single, ‘Nothing Matters’.
Each single of theirs carries a cathartic energy with them, whether it be through Abigail Morris’ dulcet vocals that are certain to captivate even the coldest of hearts or through the instrumental artistry of the rest of the band (Emily Roberts – guitar, mandolin & flute, Georgia Davies – bass guitar, Aurora Nishevci – keys, vocals, Lizzie Mayland – guitar, vocals.) that creates such a rare and inimitable sound. Their album takes this pre-eminence to a whole new level…
The album opens with the title track – ‘Prelude to Ecstasy’. A swirling sound of instruments lures you into the palms of the band, bringing an overwhelming sense of thrill and elegance to the atmosphere. ‘Burn Alive’ slowly fades in with an influx of beautifully crafted lyrics that are simply enchanting. – ‘There is candle wax melting in my veins, so I keep myself standing in your flames.’
Next up is ‘Caesar on a TV Screen’. This track is certainly a catchy little melody that will have you dancing vivaciously around your kitchen and screaming the lyrics at the top of your lungs. Morris’ energy throughout this tune in unmatched and the desperation in her voice completely encapsulates the feeling of being betrayed by those you hold so dearly (We’re looking at you, Brutus!)
The following track reflects the feeling of complete and utter feminine rage – ‘The Feminine Urge’. Despite the aphrodisiacal sound of this song, the lyrics display a strong feeling of fury as Morris cries, ‘Do you feel like a man when I can’t talk back?’. Next comes ‘On Your Side’, a gut wrenching melody that is written like a letter to a lover who is suffering with great burdens. The quiet yet eloquent outro leaves your heart shattered and your eyes welled up.
Roberts opens ‘Beautiful Boy’ with her alluring flute playing that could silence a crowd of any size. This track has a slow buildup to a gorgeous and enthralling peak, where all of the band members’ talents collide and merge into one euphonious melody. A combination of vocals creates a breathtaking sound, similar to a siren’s call that lures you in ever so sweetly.
‘Gjuha’ (meaning ‘tongue’ in Albanian) is lead by Nishevci, that explores the feeling of shame for not being fluent in her mother tongue. It’s rather quiet in comparison to the rest of the songs, yet still pivotal to the album. The track fade into ‘Sinner’ with an awe-inspiring transition, making you feel as though you are ascending above the stars. Mayland and Morris’ voices mix beautifully throughout, and Davies’ bass skills do not go unnoticed. The lyrics ‘Pray for me on your knees’ make you truly want to kneel and give in to the power of this 5-piece.
‘My Lady of Mercy’ is a jaunty ballad written about catholic guilt, with a powerful sense of rage looming over it – ‘Strike me, pierce me, straight through the heart.’ Again, each member makes this heavy track beautifully unique. Nishevci opens the next track, ‘Portrait of a Dead Girl’ with a calm piano tune. The lyricism on this song especially is unmatched, each one flowing into the next and weaving together a rhythmic masterpiece – ‘I wish you had given me the courtesy of ripping out my throat.’
A timeless banger, ‘Nothing Matters’ follows on. This track is one of a kind, and reflects the intricately crafted aesthetic of the album. It makes you think of all things beautiful and lustful, whilst urging you to drop everything you’re doing and just dance! Whether that’s twirling around in flower crowns and floaty dresses, or simply headbanging on the sofa. (There’s no wrong way to dance to this one!)
The final track of the album has you on the edge of your seat; every note played is laced with intrigue and ardour. Morris’ vocals become increasingly intense over the length of the song, with her chanting ‘When I drown, will I get very far? When you drown, they’ll forget who you are.’ Roberts’ guitar solo is absolutely astonishing and will certainly take your breath away with each flourish.
Overall, this album is not one you’ll want to miss out on. You are cordially invited to listen.. (and obsess over it!)
Listen to ‘Prelude to Ecstasy’ here:
Bacchanalia Magazine 