Review: The Last Dinner Party — From The Pyre

The Last Dinner Party
From The Pyre
Universal-Island Records
Street: 10.17.2025
The Last Dinner Party = Wolf Alice + Florence & The Machine

From the popularization of Victorian nightgowns, to deer imagery and fountain pens across the internet, as well as the recent release of the acclaimed Frankenstein film adaptation, the winter of 2025 has proven itself the new gothic age. Why not romanticize the gloomy season with the glow of a tapered candle… or perhaps a pyre? 

From The Pyre by The Last Dinner Party is a gothic tale of its own: one that contemplates growth, identity and desire through sacrificial lambs and fire. If you are unfamiliar with the mythical all-woman ensemble that makes up The Last Dinner Party, and you missed their breakout single “Nothing Matters,” it is worth mentioning that the group has mastered the art of contrast. Inspired by Catholicism, the band has seemingly been drawn to biblical and ethereal themes since their debut album Prelude to Ecstasy (2024), which was primarily written by lead vocalist Abigail Morris in her Catholic girlhood.

The battle between one’s truest self and the expectation of God is heavy, and yet the band’s sound is silky — from the vocals to the guitar solos.

The group combines soft empathy with a leathery intensity in everything they do both audibly and visually, creating a multifaceted vision of the feminine and the sexual. From The Pyre continues their ongoing journey, deepening the youthful naivete of their debut into something more grounded, more mature, and wiser. The songs feel rooted in their signature theatrical style, but layered electric guitar, ringing bells and the sounds of ghostly chanting create a darker tone to match the themes within the lyrics.

The album is ritualistic and poetic, while also taking on a realist’s perspective on themes of womanhood, relationships and rebirth. In songs like “Rifle” and “I Hold Your Anger,” the lyrics discuss the brutality of loss, whether that be a relationship or a loss of innocence. Their verses guide the instrumentals, creating a narrative experience. Listening to “Woman is a Tree” temporarily transported me to the Canadian wilderness with the girlish Yellowjackets cult. 

However, the narrative feels almost Shakespearean, with complicated, layered imagery — in other words, it won’t spell out anything for you. In the current climate of social media, ridden with fast-paced summaries and Taylor Swift lyrics, From The Pyre refreshingly deters from the concept of digestibility. It is not interested in telling you how to feel while listening; it simply allows you to feel it. “The Scythe” is one of the most exemplary tracks. Of course, there are songs like “Agnus Dei” that are easier to listen to and experience, but the consistent layering of biblical references keeps things fresh throughout. 

The production is also extremely rich and diverse; without the wonderful landscape of sound, the stories within the lyrics would have no setting. The guitar riffs and swooshes of wind that play behind Morris’ vocals create an atmosphere that is fully immersive. In From The Pyre there is plenty of experimentation with wind instruments, such as the humming flute played by Emily Roberts, itself blending into other sounds. The album as a whole leans closer to rock, which makes the listening experience all the more enthralling. 

Prelude to Ecstasy was experimental in its own right, feeling close to the sounds of Kate Bush or Florence & The Machine. It was a whimsical and a powerful introduction to the band, while certain songs on this second album, like “This is the Killer Speaking,” venture further from remnants of their past work, and still others feel completely new, such as the aforementioned “Rifle.” You might cry to the lullaby of “Sail Away” and then scream to “Count The Ways” — and that is what makes the album such an experiential listen.

Prelude to Ecstasy was certainly a prelude to the new album, but From The Pyre is a bridge to The Last Dinner Party’s fullest potential: a rebirth, if you will. Despite their ability to squeeze into a gothic niche, they certainly hold their own, and I can’t wait to hear more. —Madi Madrid

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Review: Thien Dragon — CHAOS GARDEN