If you told me the five members of The Last Dinner Party were time travelers, I would believe you. 

With the release of their debut album Friday, the British indie-rock band seemingly popped up out of nowhere, dropping 41 minutes of heartbreakingly angelic vocals, reminiscent of a medieval fantasy.

With tracks such as “Caesar on a TV Screen” and “My Lady of Mercy,” the album invokes a woozy vibe that transports the listener to the 1970s. The album feels like ABBA’s dark and twisted younger sister.

The theatrics also summon an era of gothic royalty, leaving me wondering if the band’s five members are fairies, vampires or something else entirely. 

The album indicates a shiny career in the works for this new girl group. The project is stunning and distinct. The album mixes a variety of sounds, from chiming opera to edgy guitar riffs to tinkling wind chimes, that seem like they could never go together. But, The Last Dinner Party makes it work and sounds like they have been perfecting their sound for an eternity.

The opening track “Prelude to Ecstasy” — nearly a minute of pure instrumentals — sets the tone for a wacky listen. The introduction reminds the listener to not just pay attention to the angelic vocals, but also the album’s exceptional production. 

The next track, “Burn Alive,” feels like a modern “The Phantom of the Opera.” With haunting lyrics like “candle wax melting in my veins.” 

“Caesar on a TV Screen,” which follows, ensures listeners of The Last Dinner Party will be thinking of the (trending) Roman Empire on a daily basis. The song is a wildly addictive rollercoaster ride. At times, it’s powerful, and at others, heartbreaking. Like the entirety of the album, it feels like something you want to dance to and cry to at the same time. 

Sing-songy vocals and heartbeat-esque drums in “The Feminine Urge” continue the album’s dreamy but eerie vibe. The song’s lyrics, which describe “dark liquor stretched out on the rocks,” are jolting. The contrast between high-pitched sounds and tragic lyrics defines the band’s unique, chaotic sound. 

“On Your Side” and “Beautiful Boy” bring out the albums’ angelic, melancholic side. These slower songs are by no means a lull in the album. Instead, these tracks seem to have arrived right on time for the heartbroken on Valentine’s Day. 

“Sinner,” the album’s 8th track, radiates “big hit” energy. The song is catchy and slightly upbeat. Guitar riffs and chants ensure the song doesn’t stray from the album’s strange sound. While the album’s later track “Nothing Matters” has received immense (and deserved) hype, “Sinner” is underrated. Out of the album’s 12 tracks, “Sinner” stays closest to its pop influence. 

The album’s real star of the show is “Nothing Matters.” The Last Dinner Party released the single in April, and it is simultaneously devastating and enchanting. 

The band’s hopefully exciting future is captured in their viral performances. Seemingly endless clips of the band’s lead, Abigail Morris, dancing and stomping freely to “Nothing Matters” on stage in ruffled dresses and boots have fans calling her a real-life Lucy Gray Baird.

Despite a multitude of listens (I’m expecting to see this track on my Spotify Wrapped come December), the song never gets old. I credit this band’s seemingly endless passion to the song’s success. 

While I have only witnessed the song through video, the group’s captivating stage presence is what makes them the girl band we didn’t know we needed. The Last Dinner Party makes audiences want to climb on stage with them and dance, and “Prelude to Ecstasy” brings this band’s fresh, exciting persona to life. 

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Twitter: @emilymlichty

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