WELCOME

Welcome to Erazer Magazine! Born from a love of music and the arts, our aim here at Erazer is to bring you the best in new music, live reviews, album/single reviews, interviews, promotions from all over the UK!

Find out more here.

EDITORS
Editor / Photographer
JOIN US

Do you share our mutual love for all things music and the arts? Consider yourself a budding journalist, photographer or both? Do you have ideas that you’d like to turn into features? If so, drop an email to the following address and let’s discuss further.

editor@erazermag.com

The Last Dinner Party

Review: The Last Dinner Party – Prelude to Ecstasy

Nearly a year after the hit release of “Nothing Matters”, ‘Prelude to Ecstasy’, invites us to a world of romance, girlhood and sexuality, tinged with gothic flair.

The album’s first track and namesake aurally invokes the whimsical fantasy of the London quintet. In this style, the band draws inspiration from the likes of Kate Bush as well as Florence and the Machine both musically and thematically. Feeling as though you have just stepped onto the set of a period drama, the first few melancholic chords of “Burn Alive” teases listeners with a vignette of the gothic sound the album gains throughout – this soon fades into new wave-like synth pop that, to some, may initially feel out of place on the album. However, the emotive lyricism of lead singer Abigail Morris anchors the overall energy of the album with her ever-euphoric vocals despite  the chaos unfurling around her, accompanied by the choral harmonies of both Lizzie Mayland (guitar) and Aurora Nishevci (keys). 

“Nothing Matters”, “My Lady of Mercy” and “Feminine Urge” follow the band’s formula of making a sumptuous alternative rock track, vocally coy and lyrically immodest. “Feminine Urge” is a standout track with its cooly crass lyrics, Emily Roberts’ extravagant guitar riffs and Georgia Davies’ bass lines reminiscent of Marina and the Diamond’s iconic “Electra Heart” album – which no doubt played a role in the operatic exploration of girlhood the band has created with this album. “Gjuha”, a track sung by keyboardist Nishevci, is a clear homage to her Albanian roots:, a real curveball serving as an interval, of sorts to the album – reflective perhaps of the development of the band since their formation in 2021. The poetic falsettos of the song do not seem out of place but rather at one with the alchemy that the band has created in their own, beautifully turbulent, sound.

The Last Dinner Party
Photo Credit – Russ Leggatt

It is no surprise that the band not only make reference to literature and film in their eclectic and theatrical music videos such as “Caesar on a TV screen”, but also in their lyrics. “Beautiful Boy” references F. Scott Fitzgerald’s ‘The Great Gatsby’ and the quote “I hope she’ll be a fool—that’s the best thing a girl can be in this world, a beautiful little fool.” from the wealthy but purposeless Daisy Buchanan. The track however masterfully opposes this view with Morris singing, “The best a boy can be is pretty” – showing the contemporary viewpoint of the band through a powerful feminine voice amongst sprinklings of archaic fashion and sound. Other tracks like “Sinner”, and “My Lady of Mercy”,  discuss sexuality – this time anger and jealousy at men, and the unrequited lust felt towards a woman who only has eyes for a “beautiful boy” as mentioned in track six.

The final track demonstrates more of the thoughtful yet maximalist essence of the album. “Mirror”, literally reflects the subversive orchestral sound of the first track as though the piece has been playing throughout the album, and runs through it like the motifs of sexuality and girlhood; with signature gothic and hedonistic flamboyance. Overall, a perfect first introduction to the lavish, eclectic energy of the quintet. The chaos which we see throughout the album will no doubt lead onto further deep dives into queer and female experiences alike.  

Related Posts
Seasick Steve
Read More

Review: Seasick Steve – ‘A Trip, A Stumble, A Fall Down On Your Knees’

Man, I really love Seasick Steve! I remember almost twenty years ago now when he seemed to fall, fully formed and full of gnarly, moonshine swigging cool, onto our screens on Later…It looked like he was playing a guitar that he’d accidentally reversed his truck over and was pounding his foot on a stomp box which might as well of had alligator teeth marks carved into the side. He plays it all loose and growling with heart, authenticity and rough-round-the-edges rawness that is infectious. He’s great when playing alone with his stomp box but when accompanied by the wild man that is Dan Magnusson on the drums, they are on another level.
Liam Gallagher
Read More

Liam Gallagher – The O2

Biblical, Godlike, Celestial, RnR Star, Majestical, Rasta, Lover, Lasagne, Sunshiiiiiine, C’mon – just some of the words used to describe himself and words that adorned the billboards leading up to The O2 from the tube (shoutout to Brian at Microdot for the original scribe!). I think tonight it could be said that Liam was a mixture of all these!
Richard Hawley
Read More

Review: Richard Hawley – In This City They Call You Love

Fans of the sometime Pulp guitarist who have followed his solo career in the twenty ten years or so will find a Richard Hawley they are very familiar with on his new album, his ninth, In This City They Call You Love. He lays down dollops of reverb on both his voice and his guitar, sounding at times like a lower-pitched Roy Orbison or a less twangy Duane Eddy. Hawley loves his 50s and 60s ballads and he reworks a well-worn song structure, without really adding anything modern.
La Luz
Read More

Review: La Luz – News of the Universe

In an overwhelming moment in history, there is a lot to be said for bands that can perfectly encapsulate not so much direct social commentary, but sonically, embellish both the bedlam and the bliss in one go. Step forward La Luz and their 5th album, News of the Universe; their first offering on Sub Pop records.