The Last Dinner Party Return With Second Course ‘From The Pyre’

Rising from the ashes of their 2024 debut, “Prelude to Ecstacy,” indie-rock quintet The Last Dinner Party reignited their baroque flare and theatrical ambition on sophomore album “From The Pyre,” released Oct. 17.

The first half of “From The Pyre” continues the power pop sound established in the band’s debut record. Their classic rock-tinged style still feels fresh enough that it doesn’t demand major reinvention.

The album opens by invoking “Agnus Dei” — Latin for “Lamb of God” — a designation for Jesus in Christian liturgy. The song uses rapture-like, apocalyptic imagery to portray a deteriorating long-term relationship.

“‘Twas London Bridge, the vision came / Lee Hazlewood you were singing / As you descended from the clouds / Your head was burning, your arms were open,” lead singer Abigail Morris sings.

While the band’s Christian-based image might suggest overtly religious themes, “From The Pyre” uses Catholic iconography to explore human desire and guilt rather than promote religious devotion. 

The album’s title uses the term pyre not in its literal sense — a pile of material used to burn a corpse — but as a metaphor for moving on from a past lover and the adoration associated with them.

Released July 17, lead single “This is the Killer Speaking” shifts self-pity to a vengeful rage as the narrator descends into violent obsession. Its slow-burning intro ignites an explosive chorus reminiscent of the band’s breakout single “Nothing Matters.”

“If only you’d been honest, could have spared this bloodshed / Now I’m wanted ‘cross several county lines,” Morris sings.

The ensuing “Rifle” shoots the thunderous roar of heartbreak where it stands, sending the album’s midpoint into a melancholic slow jam that gradually drifts toward the closing track, “Inferno.”

Though doleful in tone and tempo, the latter half of “From The Pyre” uses Morris’ deeper vocal inflections to craft a slow-paced limbo that lets the quintet flourish under a new sound, with “Woman is a Tree” being a notable standout.

Opening with an a capella choir, the deep strum of an acoustic guitar shapes the medieval-tinged track, complements Morris’ rich, drawn-out vocals. The track also pivots from the religious-heavy imagery to paint a portrait of the LP’s narrator.

Lyrics likening a woman to a tree evoke the shared burden of being used and exploited by the men these songs presume. Trees fall and are built into homes that women are confined within.

“Woman is a tree / Livid hero, I am here / With deluxe understanding, I’ll shelter your soul / Sister of mine, you’ll never grow old,” Morris sings.

While “Rifle” and “The Scythe” make early attempts at slow-paced emotional ballads with hard-hitting lyricism, they fail to capture the same success as “Woman is a Tree” —  eventually devolving into anthemic choruses prime for top 40 listeners.

Despite returning to their jovial instrumentation with a playful piano evocative of early Abba hits, “Inferno” remains a self-depricating closer. With lyrics delving into an identity crisis, “From The Pyre” concludes without the happy ending listeners would expect given the albums perspective and subject matter.

While the record doesn’t aim to tell a linear story, its hints of an overarching narrative can feel disorienting. From the vindictive “This is Killer Speaking” to the lyrical victimization in “Inferno,” the record jumps between conflicting perspectives, making it difficult to follow a clear emotional throughline.

“From The Pyre” is available on all major streaming platforms.