Review 5: The Last Dinner Party - Prelude to Ecstasy

#32 The Last Dinner Party - Prelude to Ecstasy

Youtube album link

As with most of the artists on this review list, I know nothing about this band (it is a band I believe - and that's a bit rare these days), and it seems they're all female - which is great! Apparently this is their debut album, also great! Here's what Billboard had to say:

"Prepare to be seated and mesmerized as British alt-rockers The Last Dinner Party serves up a debut album that leaves no crumbs behind. Making good on the potential of 2023 breakout hit “Nothing Matters,” Prelude to Ecstasy is a sumptuous 12-track feast, led by singer Abigail Morris’ entrancing voice and filled out by the band’s churning grooves. Don’t worry about leaving room for dessert — there’s nothing too sweet here — but you’ll leave plenty fed just the same."

British alt-rock. Ok I'm all in! Let's go

1. Prelude to Ecstasy

Starts out like a score to a movie scene - strings, horns, theatrical arrangement with flutes, bells, harp. This is an instrumental that seems out of place even for the first song.

2. Burn Alive

Dramatic - Prelude to Ecstasy seems to set this song up. Keys, bass, drums, vocals, clean guitar. Changes in the rhythmic timing is interesting. This reminds me of Kate Bush but with more production.

3. Caesar on a TV Screen

Leslie guitar & vocals. Nice harmonies. Change in tempo is interesting. Change in time signature from 4/4 to 6/8 in the chorus, then back to 4/4. The song seems like it's cut into three parts, the first in double time, then a groove, then waltz 6/8.

4. The Feminine Urge

Starts out with a 70's feel. Again Kate Bush tickles the brain here. Decent singing here - nice range from Morris's singing here.

5. On Your Side

Delicate piano. Better use of space in this song. Better use instrumentation. Multiple guitars in either ear widens out this mix better than the prior songs. Drums/Bass and vocals take center stage as in the other songs so far. Guitars and synth fill in the gaps, this song has a dream pop genre feel to it. Best song so far.

6. Beautiful Boy

Opens with piano and flute. Slow, playing with dissonant notes within the chords. Ballad. Mellow.

7. Gjuha

Starts with a middle eastern flavor - Hindi lyrics?

8. Sinner

The prior song rolls right into Sinner. The most Kate Bush sounding song so far. This one has a bit of a groove going on. The most energetic song on the album so far. This one has a bit of a guitar lick in it.

9. My Lady of Mercy

Starts off double time. Changes tempo and feel in the chorus, then a break. Back into the double time.

10. Portrait of a Dead Girl

Delicate piano is back. Ballad. Strings / synth accompaniment.

11. Nothing Matters

This is a 2022 single. Organ/vocals, harp and leslie guitar. Chorus kick in is good. Hand clap accents. There's some soul/feeling in this song. Caveman drums - love that addition. Guitar solo - how refreshing! The mix feels different - more interesting. Strong chorus.

12. Mirror

Kettle drums, strings. Ballad again. Plodding.

Overall view: First few songs the mix is a bit flat. Most songs don't really stand out. The style is alt-rock but on the mellow side, about 70% Kate Bush and 30% the Smiths. I'm having a bit of an issue with the genre use by Billboard on this group, since this sounds more dream pop but from a British band. It's slow, it's plodding, but to me just doesn't connect - the sounds and melodies are fully realized but it's bland. If Lord Huron was less inventive and female and from the UK - perhaps it would be a good comparison? Generally I'm leaving this album underwhelmed. This is background music while vacuuming. All empty calories, no nutrition. There's very little here to be excited about.

On the positive side, the songs do incorporate some progressive elements, changing tempo's, changing time signatures which to me are interesting bits in music, to keep the ear fresh and not get bored. The vocals are steeped in cathedral reverb and harmonies which can get tiring though work for this music style. Stand out songs are the single "Nothing Matters" and "On Your Side". I think there's lots of potential. Morris's vocals are excellent, the harmonies were great, the melody while very similar and consistent throughout the album didn't transport me to where I think The Last Dinner Party wanted me to go. Unfortunately I have to give this album a "meh" or as the kids say today "mid".

Review 4: Remi Wolf - Big Ideas

#35 Remi Wolf, Big Ideas

Remi Wolf (stage name? I think so) is someone I don't think I've listened to or heard any songs. Again a new artist for me to check out and see what's going on. Remi's #35 album of Billboards top 50 albums of 2024. Here's what Billboard has to say about Remi's third album:

"Alt-pop artist Remi Wolf has long been associated with funk sounds underlining witty lyrics that hint at something more existential. But on Big Ideas, Wolf’s wide-ranging third studio album, the soul-pop singer dives head first into the sounds and lyrics that make her music stand out. Whether she’s playing with the concept of domesticity (“Motorcycle”), feeling isolated in a relationship (“Alone in Miami”) or revving herself up for some kinky hotel sex (“Toro”), Wolf spends Big Ideas swinging for the fences with her lyrics, all while blending in a healthy balance of ’80s pop, ’70s funk and ’60s soul to make a sound all her own."

I like lots of 80's pop, 70's funk and 60's soul so here we go!

TLDR: Scroll down to the bottom for the overview and rating

1. Cinderella

Funky, 70's with synth horns. It gives me "Pass the Dutchie" vibes (but in a good way), just no Jamaican singing drums. Lots of 70's and early 80's feels. Nice rhythm's. Dry instrumentation, with the exception of the melody. Easy to listen to.

2. Soup

This one has 80's synth pop feels. Very different from the first song Cinderella. Mix sounds very different as well. Slap back and longer reverbs aid the melody. Wider left/right stereo. Difficult to her the annunciation in the chorus perhaps due to that wideness. Another easy to listen to song.

3. Motorcycle

This has 60's R&B feels. Slow brushes on the snare and what sounds like a 28" boomy bass drum. I like this one - the chorus throws me back to 1977 listening to motown records. The reverb on her voice is an old throwback plate - one that hangs in the basement of the studio with a speaker behind it and a SM57 6 feet away. Short song - I wished it would have kept going.

4. Toro

Funky bass lines jump out. Fairly straight drum beat - claps add some nice accents. Is it all moog bass or is there a Jazz bass filling in? Feels like this is something that could have been played in Studio 57 in a different world timeline. I find my head bobbing. Again another easy listen.

5. Alone in Miami

Guitar progression sounds like something I would have written in the 1990's. The melody lines are interesting - double vocals, some external distortion added for texture. Good singing - a bit back in the mix - retro.

6. Cherries & Cream

1970's prog rock sound effects, over synth patches. Chorus guitar comes in with fluttering sound effects. 1970 Beatle-esque soundscape from something off Yellow Submarine from a different dimension. Progresses into an acoustic with a bit of funk/latin in the chorus. Interesting mix of genres. The glue is the melody keeping it together. Again different than all the other songs on the album.

7. Kangaroo

Distorted vocals. Immediately I get some Bjork influences. Bass drums have some distortion on them as well. Chorus clears up the melody - the rest of the instruments stay a bit distorted.

8. Pitiful

Playful synth and shaker. Very pop feel. Youthful feels. Retro synth melody between chorus/verse.

9. Wave

Funky / Guitars with phaser. Pop-ish. This song focuses the melody and singing. Chorus build is nice. Heavy synth - almost dub-step synth. Simple song.

10. When I thought of you

Ballad feels. Whistle melody line - made me smile. Hates the auto-tune line - made me cringe. Chorus was good. The lyrics are very relatable. The song never really breaks out. I want distorted guitars to just rip, but it's just teasing.

11. Frog Rock

Amazingly, the song opens with frogs. Who'd have thunk it!? Lyrical tempo and timing is really different in a good way. Very pop. This gives me "When it's over" by Sugar Ray vibes. Very much a 90's pop feel.

12. Just the Start

This sounds like a Kimya Dawson song - very strong Kimya vibes here. Could have been on the Juno soundtrack if it was 20 years earlier. Of course I love Kimya low-fi style and this song very much replicates it. Sounds like this was recorded on a 4-track personal recorder in 1988.

13. Slay Bitch - Bonus Track

Very much feels like an early 1990's R&B song. Lots of modification on her vocals, octavizer maybe or just changing the scale - not quite chipmunks but half-way there. A bit of Michael Jackson, mixed with Bell Biv DeVoe, a smidge of Toni Toni Tone, and a touch of Keith Sweat. My least liked song on the album but hey, it's a bonus track so I'm not gonna judge.

Overall view:

I liked this album. The main reason is because Remi's influences, song sound choices, genre choices are immediately recognizable to someone of my age group as influenced by various R&B / Motown artists, 70's Prog Rock, 90's indie like Bjork or 90's Sugar Ray pop. The run of the mill 17 year old listening to these songs aren't going to recognize those influences, those sounds, those drum beats. They won't probably recognize the 60's R&B feel, the Beatle-esque sounds, the 90's R&B feels. It's clear Remi does recognize those artists (or maybe her producers know and created the album this way?) and to me, it's comfortable - like a broken in chair you've planted your butt on for 10 years. Remi's singing is top notch. Production value is very good. Perhaps because of the jumping between genre's of music, the mixing style and mastering style of this album is not consistent, which I LIKE. I hear the influences in each song, I hear the differences in mixing, instrumentation. Some songs Remi's voice in right on top of the mix, others it's retro and back behind the music.

I have to say of all the albums so far, with the exception of the last bonus song, I could easily put this album on in my headphones or in the background, and it's like a familiar sweatshirt. Maybe I like it because it makes me nostalgic. Younger listeners - this could be the gateway into 60's though 1990's motown, R&B, pop and funk.

6.7/10

Review 3: Lainey Wilson - Whirlwind

#36 Lainey Wilson - Whirlwind

#36 Laney Wilson - Whirlwind

This is the 3rd "new" album review. (See the "Perfect Album" which outlines these reviews.

Laney Wilson is an country artist I've never heard of before since I don't listen to country or even modern country music. Ever. So this should be interesting!

What Billboard had to say about it:

The 14-track set, which earned a top 10 debut on the Billboard 200, offers a tour through romantic ballads (“Counting Chickens,” “Call a Cowboy”), obstinate kiss-offs (the spoken-word “Ring Finger”), songs about stinging breakups (“Devil Don’t Go There”) and nods at her home genre’s current moment in the cultural zeitgeist (“Country’s Cool Again”). Leading all of them is Wilson’s soaring, twangy vocal. Whirlwind could also become an awards-season darling, as it’s nominated for best country album at the 2025 Grammys.

Best country album of 2025 apparently. Well okay. Let's see what's here.

1. Keep up with Jones

Acoustic guitar driven with a short slap back on the vocals. Definitely a country melody. Her voice reminds me of that Dolly Parton twang. The southern accent shines through. With a "train keeps a rolling" rhythm.

2. Country's Cool Again

Bluesy country. That same slap back reverb going on. Very much the same structure as the previous song, starts in a lower register while the chorus kicks up the intensity. Very typical chord progression. Catchy chorus. Good production on the recording shines through.

3. Good Horses - feat.Miranda Lambert

Most interesting sounding intro and verse so far. Acoustic guitar & voices take center stage with longer reverb on the voice this time and it sounds better. Background mandolin part. Interesting soundscape on this one. Love the acoustic solo.

4. Broken Hearts Still Beat

Ballad. The slap back reverb has returned. Her voice stays the same no matter what song, it's always on 100%. Whoever was the engineer assistant who had to move all the vocals to be perfect, kudos. Obligatory organ part. Not really feeling this song.

5. Whirlwind

Starts out with an Edge delay guitar. Long reverb this time on the vocals. Typical pop type build up, adds bass drum. Chorus kicks it in. Much more pop than country so far. I hear influences from alt pop, indie and country. Not a banger but good enough.

6. Call a Cowboy

Acoustic & slide guitar, pedal steel. Love the twanging tele in this one. This one's in 6/8 time, so it automatically gets a +1 from me. Slide solo is well done - very nice. Nearly three quarters into the song it goes into a filter to setup the banging end of the song with distorted rock guitar.

7. Hang Tight Honey

Totally different feel. Up tempo. This one's straight from a country song template. Strange reminders of Kenny Loggins "Footloose". No it doesn't sound like it but... there ya go.

8. Bar in Baton Rouge

Ethereal start with synth. Acoustic guitar comes in. Sound is about looking at a beer label and thinking about the Rockies in a bar in Baton Rouge. Great use of instrumentation on this song. I hear R&B funky keys which adds a little flavor. Song structure is very formulaic. Typical stops and the drops.

9. Counting Chickens

Acoustic guitar comes in and immediately remind me of "Never Going Back Again" from Fleetwood Mac's Rumours. Simple song. Well produced but I would have rathered left the synth and electric guitars and kept it simple but the drums and slide guitar comes in - but not over doing it.

10. 4x4xU

Initial 70's keys and feel felt good. Very Dolly-like. Catchy lyric, and there's a bridge. That's unusual - no one uses bridges any more. Otherwise nothing spectacular.

11. Ring Finger

Starts off with a distorted guitar jam, then goes into a "Heart of Glass" type of country rap? Add the synths. A mix of Blondie, R&B and country melody. A bit funky - a nice change from the prior 10 songs. Nice synth stabs. Props for creativity.

12. Middle of It

Better vocals - softer. Fits the song. Chorus goes back to the standard country bass/drum. Nice twanging tele again which I dig. The rest of the song is ok.

13. Devil Don't Go There

Twangy acoustic - I like the rhythm of this one. The background lap steel is nice filler instead of keyboards or synth. I wish this one had a longer solo.

14. Whiskey Colored Crayon

This has Lord Huron song vibes. Long reverbs, sort of ethereal. An okay song.

Overall view:

So Laney's voice reminds me always of a new Dolly Parton. It stuck with me the entire album. Her voice is strong. All these songs are very well sung. Excellent annunciations and pronunciation. The harmonies are there but probably done with a VST plugin or harmonizer since they are exact with the main melody in every single way including tone and timing. What really grated on me was the constant use of slap back reverb on her voice tracks. I wish that was a different decision in the studio. The production is top rate - many someone's know exactly how to record, mix and use instrumentation. The genre isn't my genre - it's so polished that it's difficult to think humans made this album or wrote these songs. If someone said this is an AI album, I'd believe them. The lyrical style is that of old rock and folk songs - telling a story. Something Top 40 pop songs don't bother with any longer. Country has taken the place of Rock & Roll - it has lots of the same bits and bobs, but the melody is all country music.

That said, the songs were on the generic side. There were no "bangers" that just reach out and grab you by the collar and shake the hell out of you. A few stand outs was "Ring Finger" which had a totally different feel to it than most of the album (which I appreciate). The best song of the 14 was "Call a Cowboy" as I can hear that song on the next season of "Landman". Lyrically I like "Good Horses" as my second place song on the album. The song starts off amazing as is the chorus, "I don't need map, I don't need a road, I don't need a fence, I just need to roam, if you want to love me, you don't need a rope, you just need to know good horses come home."

5.5/10