An album that caught everyone’s attention earlier this year, ‘Prelude To Ecstasy’ is one of three thrilling debut albums on this list. Released in February this was our introduction to The Last Dinner Party, and I think it’s safe to say that no one will be forgetting this quintet anytime soon! More than anything, this album is interesting. Opening with an orchestral prelude, it’s a little unclear what direction the album is going to take but any uncertainty is soon dissolved on the second track, ‘Burn Alive’. This song is reminiscent of Kate Bush and is a great example of slow moody versus paired with more upbeat choruses, something that band does rather well.
The Last Dinner Party are sweating buckets, having carried their instruments across town for rehearsals. In case you’ve somehow missed it, the quintet released their debut single “Nothing Matters” back in April and quickly became the most talked about band in Britain. Critics and fans were united in declaring it song of the year and the band’s distinctive baroque-pop sound and look has been compared to heavyweights like Queen, Kate Bush, ABBA and David Bowie. The single has already racked up 4 million streams.
It wasn’t long, however, before the band found themselves in the midst of a cruel online storm. Some accused them of being manufactured, others said they were industry plants. Many said they were nepo babies – the children of music industry parents – while others accused them of not writing any of their own music.
“We’re real friends,” Morris says. They met while at different London universities (some studying music, some English literature) and bonded over music. “The basis of our friendship was just going to gigs all the time,” says keyboardist Aurora Nishevci. “And we did that for years.”
“I think the first conversation I had about the band was at The Shack after watching a band play and Abigail said: ‘we’re going to start a band,’” adds guitarist Lizzie Maylan. “We were watching some post-punk lads up on stage and we were like: ‘This is shit! We need to do something about this.
Their visual identity is as important to them as the music. On stage, they wear gothy, medievalish gowns and corsets (think Midsommar crossed with Wuthering Heights-era Kate Bush). “We thought a lot about it, big time,” says Davies. “Which is why it bit us in the butt,” adds Morris, “because everyone is like, ‘How are they so fully formed and prepared – they must be industry plants!’ But really, it’s because from the very beginning, before we even had a rehearsal, we knew we we’re going to think about this so carefully.”
“We could have signed to an indie or a major…” Nishevci says, “…but we wanted money,” Morris interjects. Before the deal with Island Records, they balanced their studies alongside odd jobs and gigging to make ends meet. Lead guitarist Emily Roberts was even moonlighting in a Queen tribute band at the time. “I was Brian,” she laughs. “It was my back up plan, I was meant to go on a cruise ship playing.” After the band signed to Island, .
Of course, the hate continued, with some critics accusing them of ‘selling out’ by signing to a major label. “We weren’t going to turn down an incredible opportunity like this,” Morris says.
“I think it’s a really dangerous mentality, where to make art, you must be struggling, all the time,” adds Davies. “We want to encourage people to be able to do art and make a living from it, to be comfortable and able to do it with longevity and sustainability. If we’re only celebrating or accepting art where it’s been a real struggle, it’s a terrible message.”
They also point out how few artists now have a choice, at a time when so many earn so little from the industry, and arts cuts abound. “If we didn’t have management or any help, there’s no way we could afford to play festivals,” Davies says. “It cuts out so many great bands from these opportunities because of how little [they earn]. I think there should be so much more help… but the government doesn’t fund anything, so they’re not going to fund the arts.”
The Last Dinner Party present their debut 7″ vinyl. Limited to only 1000 copies worldwide, this exclusive release features a stunning debossed cover sleeve and two captivating tracks. From the hauntingly beautiful “Nothing Matters” on the A-side to the ethereal “Prelude to Ecstasy” on the B-side, this record showcases the band’s unique sound and undeniable talent.
‘Prelude To Ecstasy’ covers several different styles and does them all so well that it’s almost hard to describe. The only thing I can say with complete certainty is that you need to just give this album a listen, it’s definitely worth your time!
“Nothing Matters” is a seductively crude and unashamedly vulnerable love song, produced by James Ford. For fans of Florence and the Machine, Marina and Sparks.
The Fat Angel Sings 