What can really be said about The Last Dinner Party that you haven’t heard before? The five-piece made waves with their debut album ‘Prelude to Ecstasy’ last year, propelling themselves into the public eye off the back of instant hit ‘Nothing Matters.’ That record is less than two years old, but tastes move fast in the modern era: keen to establish themselves as a mainstay in the current indie rock scene, the band have already stuck back with a sophomore release. ‘From The Pyre’ hardly uproots the Last Dinner Party sound, but neither did it need to— the group’s core tenants remain as interesting and endearing as ever.

If ‘Prelude to Ecstasy’ stood out for any reason in particular, it was for the out-and-out confidence that record oozed: songs like ‘Burn Alive’ and ‘Sinner’ could hardly be described as tentative, after all. Much of ‘From The Pyre’ keeps well in line with that approach, leaning into the five-piece’s theatrical side. Opener ‘Agnus Dei’ certainly isn’t one to go quietly, jumpstarting the album with one of its most bombastic cuts. Abigail Morris’ pronounced vocal style really sells her attempts to keep their love around, fitting seamlessly into a lavish soundscape full of Elton John-esque piano accompaniments, memorable guitar leads and percussive crescendos: if the band’s aim was to prove that the fire of their debut was no fluke, this seems about as good a way to go about it as any.

“All I can give you is a street sign

All I can give you is your name in lights forever

And ain't that so much better than a ring on my finger?”

The Last Dinner Party wear a plethora of hats across ‘From The Pyre,’ exploring themes of responsibility and womanhood from all sides: it’s an album that likes to bounce around a lot, constantly leaving you wondering just what the band might get up to next. For any listeners who might’ve found the opener a touch flowery for their tastes, the grim bass lines that come to define ‘Count The Ways’ will certainly hit the spot— the track manages to blossom into something much prettier and more serene by its conclusion, but the venom that surrounds this tale of lost love leaves quite the impression nonetheless. It should really go without saying that the group continue to sound excellent on their newest release, but it would also be a disservice not to mention just how effortlessly The Last Dinner Party have carved out their particular niche: the bouncy hooks of ‘This is the Killer Speaking’ and acoustic voicings of ‘The Scythe’ aren’t particularly conventional, but Morris and company routinely manage to sand off the rough edges of their unique (and greatly likeable) writing style.

The album’s first half reads like a who’s-who of top-notch indie rock: the band really don’t put a foot wrong here, bulldozing their way through a host of fascinating ideas. ‘Second Best’ should be the blueprint for success in this genre, slipping between sickly sweet verses and a chorus overflowing with malice— the guitar work of Roberts and Mayland is far from flashy, but exhibits enough character to sell the band’s tales of scorn and romance. The duo’s versatility is once again employed on ‘Rifle,’ which pairs its positively luscious clean guitar parts with a simple, straightforward hook that will, without a shadow of a doubt, get your blood pumping. This song is the standout, plain and simple: Morris takes her delivery to another level as she laments the tragic consequences of warfare, steeping the track in a haunting ambience.

“In that cave, we found cloth and steel that bound your callous hands

Rising from the tomb of your mother's womb: are you happy now?

Now the world is bare, people sing your prayers but you talk too loud

Can you stay a while? Whisper, tell me why

Oh God, how you've grown”

It’s in its second half that ‘From The Pyre’ loses some of its lustre: fire is famously untameable, and The Last Dinner Party don’t quite manage to keep that spark alive until the record’s end. ‘Sail Away’ is an exceedingly pretty piano ballad, detailing a fantasy of escape and freedom that many feel drawn to: it is not, however, a particularly ambitious cut. The pleasant melodies of ‘I Hold Your Anger’ and ‘Inferno’ are enjoyable, there’s no debate to be had there, but they feel far more passive and pedestrian than what came before them. Still, the only track that really underwhelms is ‘Woman is a Tree,’ which is more of an elaborate soundscape than it is a structured piece— even so, the way the song cuts off so abruptly feels unfinished, pulling the plug right when it was winning us over. Where this five-piece built their reputation on bold, uncompromising song ideas, these tunes rarely build to the same heights as their predecessors: they’d be strong by another group’s standards, but the bar is higher in this instance.

Truthfully, ‘From The Pyre’ may not quite live up to the extreme power of ‘Prelude to Ecstasy:’ of course, that’s not saying much, seeing as the debut is a tough act to follow. The Last Dinner Party certainly aren’t slouching in 2025, putting out some of their most explosive material to date— cuts like ‘Rifle,’ ‘Second Best’ and ‘Count The Ways’ are yet more signs that this five-piece are an exceedingly special group, and one to be watched moving forward. We can’t shake the feeling that Morris and company are yet to really dig their heels in and create their magnum opus: still, ’From The Pyre’ is plenty good enough to soundtrack the wait.