The Last Dinner Party Releases New Album “From The Pyre”
British indie rock band The Last Dinner Party, consisting of Georgia Davies (bass), Lizzie Mayland (guitar), Abigail Morris (vocals), Aurora Nishevci (keyboards) and Emily Roberts (guitar), released their sophomore album “From The Pyre” on October 17, 2025 via Island Records.
The album comprises 10 stories on the concept of the album as a myth, which they worked with producer Markus Dravs.
The band lead singer told Apple Music about the album title, “I love the word 'pyre.' It's so medieval. The record's meant to be a dark The Canterbury Tales [Chaucer's Middle English pilgrimage collection].”
Bassist Georgia Davies said of working with Markus Dravs, “We admired so much of his previous work. He's worked with Florence, Wolf Alice, and Björk and we were like, 'Tick, tick, tick.' We didn't have all the songs fully written like we did with the first album. There were seeds of ideas and skeletons of songs that we built up all together as we were going along, which was a different process. It was really fun as well.”
It is their their first album in over a year since the debut album “Prelude to Ecstasy”.
The band how they felt making their second album compared to their first, “We were more confident, for sure. I think because we'd done one. We were just really, just bursting to get in the studio, make more songs and put it together. And there was just an air of excitement. I think when we were doing it.”
The band said of the album, “This record is a collection of stories, and the concept of album-as-mythos binds them. 'The Pyre' itself is an allegorical place in which these tales originate, a place of violence and destruction but also regeneration, passion and light. The songs are character driven but still deeply personal, a commonplace life event pushed to pathological extreme. Being ghosted becomes a Western dance with a killer, and heartbreak laughs into the face of the apocalypse. Lyrics invoke rifles, scythes, sailors, saints, cowboys, floods, Mother Earth, Joan of Arc, and blazing infernos. We found this kind of evocative imagery to be the most honest and truthful way to discuss the way our experiences felt, giving each the emotional weight it deserves.”
They continued, “This record feels a little darker, more raw and more earthy; it takes place looking out at a sublime landscape rather than seated an opulent table. It also feels metatextual and cheeky in places, like a knowing look reflected back at ourselves.”
They added, “This album poured out of us, with so much love and joy and light that the hardest part was having to stop. We said as we were making this record that it felt like an 'outside album', more raw and earthy and animal and free. It takes place on the hilltops and cliff's edges, in forest fires and the apocalypse. Make myth of your own life as you listen.”
The band explained track-by-track for the album via Apple Music.
“Agnus Dei” Abigail Morris: “I wrote this in three parts because I had a crush on someone and was imagining being with them. We actually got together, and then I wrote some of it about that, and when we broke up, I finished it. Lyrically, it's a nice way to set up the record because a lot of the songs are discussing relationships. It's about the nature of being a musician and having a romantic life, writing about people you date and how you mythologize the other person and make them immortal by turning them into a character in the song. Sometimes you write about someone you only met once or sometimes it's a relationship. I think it's just the way we communicate if you choose to date only musicians.”
“Count the Ways” Georgia Davies: “This was an old song. We were trying to work on it for the first album, so we had the genesis, but took it down a thousand different roads. All of them were dead ends. So we revived her for the second album. We were in America and listening to Arctic Monkeys, and we were like, 'Oh, it should sound like AM.' So I wrote the intro and the bass guitar line that runs throughout the song. It's very fun to play, and I feel like people will sing along to it. Then it built up, and we added this choir outro with crazy strings.”
“Second Best” Abigail Morris: “This came from Emily [Roberts, guitarist] because of a relationship that she went through. That was a really interesting song lyrically because Emily started it and she wrote the choruses. Then, she took it to Lizzie [Mayland, guitarist] and Lizzie wrote the intro, and then I wrote the verses. So it was a committee song, which we've never done before. Emily was like, 'This is what the song's about. Interpret that.' It's about feeling inferior and betrayed and frustrated at being let down by someone you love and feeling you're not their priority. It was a creative writing exercise.”
“This Is the Killer Speaking” Abigail Morris: “I was upset, confused, and angry after being ghosted for the first time, so I decided that the way to process it was to write a character song and make it funny. Originally, I wrote it just for myself as a joke. I was listening to a lot of Johnny Cash, Jerry Lee Lewis, and Nick Cave and thinking, 'I want to write a song like that.' I think it was easy to make light of it instead of getting angry because, obviously, I don't want to murder anyone.”
Georgia Davies: “This was also the song I think that helped us realize the concept of the album. It's so character driven and we were thinking about how it sat and what connected this cowboy murder ballad to songs like 'Agnus Dei' and 'Inferno.' Using the lens of this song helped us to figure out what the whole album was about.”
“Rifle” Georgia Davies: “Lizzie wrote the lyrics for this one, and I think that it's both metaphorical and quite literal because it's talking about warmongering in general. Obviously, looking at it now, it's quite clearly about the genocide in Palestine, but it's also about how it would feel to know and love someone who went on to wage war and the devastation and anger that would cause to a mother. The whole song is quite angry in the choruses, but I think that clouds over this deep sadness and devastation. When the French section in the middle occurs, it feels like a parting of clouds temporarily for this personal address to one another, which is in the two-part harmony.”
“Woman Is a Tree” Abigail Morris: “This was another one that came from a place of wanting to do something specific with a song in the same way that 'Killer' was a murder ballad, but I wanted to write a folk song about womanhood, female friendships, and how men factor into your circle. I was drawn to this classic metaphor that a lot of folk stories and myths use, which is conflating women in nature. I feel like there's such a rich well of imagery to draw on, and I wanted to write something more atmospheric. Not about one specific thing, but more of a mood of relating my perception of femininity to my perception of nature.”
“I Hold Your Anger” Abigail Morris: “Aurora [Nishevci, keyboards] wrote this song late in the process, and we were like, 'That has to be on the record.' We're all in our mid-to-late-twenties, and this is the time when you start thinking about motherhood, family, and what you want from your life and feel intimidated and frightened. If you want children you have to decide, 'So do I want to do an album or to have a baby?' I can't imagine trying to do both at the same time.”
Georgia Davies: “I think that Aurora saw her own parents make so many sacrifices for her. It's about the expectation as well as the anxiety of 'Am I capable of being this selfless to give my entire being to another person? What is the expectation of a mother?'”
“Sail Away” Abigail Morris: “I wrote this with my boyfriend at the time, maybe four years ago. We had the chorus and lyrics, and, at that time, it wasn't about our breakup. Then, I started trying to write the verse lyrics when we were still together and nothing really was sticking. I got custody of the song, so when we broke up, I was able to write the verse. The processing of the breakup was tumultuous, so this is me trying to distill every good thing about the relationship into one song. Even if relationships end badly, it's nice to be able to recognize the good moments. It's the same person I wrote 'Nothing Matters' about, so it's like this is the circle on the next record. We were in a car and now we're on a boat.”
“The Scythe” Abigail Morris: “I wrote the chorus as part of another song when I was a teenager, and it wasn't really about anything, because at that age I hadn't been in a relationship. I found it a few years ago and started writing on top of it with more experience of love, then I realized that I was actually writing about grief. The nature of grief is it takes years and years to realize what's going on and how deeply it's affected you. My father passed away when I was 17, and now I'm 25 and still figuring out how to talk about that loss. When I was writing a song about a normal breakup, I realized that I was also writing half from the perspective of me and half from the perspective of my mother.”
Georgia Davies: “I think one of the beautiful things as a result of putting the song out is all of our comment sections on Instagram and YouTube become these places where people come to share their own stories of grief and the way that they respond to it, how it makes them feel held and comforted to hear this beautiful perspective on grief.”
“Inferno” Abigail Morris: “'Inferno' is my favorite song on the record because it's the last one I wrote. So it feels the most up-to-date with where I am as a person. I wrote it on a break from touring in Paris—I was walking around and there was an art gallery with a crucifix hanging in the window. It looked so weird and out of place in this really brightly lit, white gallery. The song's about being in the band and the swirling chaos of how it felt to come up over the last 18 months. There's a reference to The Real Housewives because if we weren't going out, Georgia and I would sit in our hotel room shellshocked and watch it in silence.”
