Post-genre pop – because all genres are there. But the hype surrounding the British women is very justified.
Finally a band that has been talked about for months without hearing more than a few songs. Baroque rock! Exalted! Like Siouxsie dancing in Downtown Abbey! With each successive single, there were increasing indications that there was something to the hype. So now the album. The four singles are there, but rather in the back. Up front, The Last Dinner Party use the album format. They give tracks long, booming outros, and with “Gjuha” they present a sacred interlude that is reminiscent of the medieval goths Miranda Sex Garden.
The brilliant “Feminine Urge” is musically reminiscent of Suede, but lyrically refers to the social media expression that women use to introduce what it means to be a woman. On “Portrait” the band combines Americana with the art pop of Joanna Newsom. I bet Taylor Swift is listening very closely here. Anyway, PRELUDE TO ECSTASY is eclecticism in the best sense: ABBA and Fleetwood Mac, modern and Britpop, goth and glam – everything is there, but just the way The Last Dinner Party want it.