Gus Creter
Up and coming UK indie rock outfit The Last Dinner Party released their debut album “Prelude to Ecstasy” on Feb. 2 to notable critical acclaim, and personally, the hype is completely warranted.
The band consists of five female rockers: Abigail Morris, Lizzie Mayland, Emily Rogers, Georgia Davies and Aurora Nishevci. The collection of vocalists, guitarists and keyboardists alongside the flute, mandolin and bass creates an addictive sound, with all of the players being excellent in their individual craft.
This new record borrows elements of indie rock, glam rock, pop rock, baroque pop, and more, allowing for an ever-evolving tracklist that continues to present new stand-outs as I listen.
The vocals are handled by Morris and Mayland, who have great chemistry and, most important, an incredible understanding of tone. The songs on this record are far from basic, going through evolutions of tempo and mood, with the varying vocal emotion being the tie that binds it all.
The introductory title-track, “Prelude to Ecstacy,” is exactly that – an eerie, grand 90-second piece that leads seamlessly, both in sound and mood, to the glimmering “Burn Alive.” The album title is an accurate depiction of the records’ sound, emphasizing the baroque and glam rock nature that makes such genres so pleasing to the ears.
“Caesar on a TV Screen” is a clear stand-out for me, having a change in tempo within the first minute, and going through extreme evolutions of emotional potency. The vocal styling gives a similar eccentricity to that of David Bowie, an artist they have been openly inspired by.
My favorite track on this record is definitely “Sinner,” a bouncy pop rock banger built around a simple, catchy piano line with a chorus that will not get out of my head. The accompanying guitars solos throughout absolutely rip, and with another tempo change for the bridge, the track is interesting, exciting and accessible – a rare combination.
With all of that being said, every track has a necessary place on this album. “Beautiful Boy” is a slow burn that builds into one of the most purposeful, dissonant moments in the tracklist, while the penultimate and most popular song “Nothing Matters” features necessary electric guitar embellishments and a powerhouse chorus, allowing the group a hit single internationally.
“Prelude to Ecstasy” is one of the most confident debut albums I’ve heard in years. There is remarkable cohesion to the album, made even more impressive when you consider their range of styles. These are versatile musicians who have my ear, and who I will continue to look out for in the future.
