Agnus Dei Lyrics
[Verse 1]
'Twas London Bridge, the vision came
Lee Hazlewood you were singing
As you descended from the clouds
Your head was burning your arms were open
Lamb of God
Or did I spell it wrong?
[Pre-Chorus]
Was that enough
To make you come?
Am I enough
To make you stay?
[Chorus]
Oh, here comes the apocalypse
And I can’t get enough of it
Meet you at the bus stop
Tell me to wait, but I won't
You're my burial ground
I’m in love with the sound
You make into the microphone
I just wanna make you— (Ah)
[Verse 2]
'Twas on the banks, the Ohio
One kiss and I was disembowelled
And your chattering teeth
And my shuddering spine
You took me on top the mahogany chairs in the kitchen
The pigeons were witches
They whispered that you'll be mine
For a time
[Pre-Chorus]
Was that enough
To make you come?
Am I enough
To make you stay?
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[Chorus]
Oh, here comes the apocalypse
And I can't get enough of it
Meet you at the bus stop
Tell me to wait, but I won't
You're my burial ground
I'm in love with the sound
You make into the microphone
I just wanna make you stay
[Bridge]
But all I can give you is a street sign
All I can give you is your name in lights forever
And ain't that so much better
Than a ring on my finger?
Than a ring on my finger?
[Chorus]
Oh, here comes the apocalypse
And I can’t get enough of it
Meet you at the bus stop
Tell me to wait, but I won’t
You're my burial ground
I’m in love with the sound
You make into the microphone
I just wanna make you– (Ah)
[Outro]
All I can give you is a street sign
All I can give is your name in lights forever
And ain't that so much better
Than a ring on my finger?
Than a ring on my finger?
Than a ring on my finger?
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Agnus Dei Song Meaning (The Last Dinner Party)
At its heart, Agnus Dei embodies the collision of devotion, desire, and apocalypse—blurring the sacred and the profane. From the opening lines —
‘’Twas London Bridge, the vision came / Lee Hazlewood you were singing / As you descended from the clouds’’ —
the narrator conjures a sudden, otherworldly visitation. The invocation of Agnus Dei (Latin for “Lamb of God”) itself carries Christian connotation: sacrifice, purity, redemption. That religious metaphor becomes electric, erotic, inscrutable. The phrasing “Lamb of God / Or did I spell it wrong?” undermines literal worship with a personal, flirtatious edge.
That ambivalence continues in the chorus:
“Oh, here comes the apocalypse / And I can’t get enough of it … You’re my burial ground / I’m in love with the sound / You make into the microphone”
The narrator doesn’t just anticipate destruction—they crave it as a backdrop to intimacy, transforming cataclysm into ritual. The “microphone” becomes a confessional, a conduit through which the beloved’s voice is fetishized.
In the second verse, geographic shifts (“banks, the Ohio”) and vivid surrealism (“One kiss and I was disembowelled”) push us into dream-logic. The intimate moment atop “mahogany chairs in the kitchen,” with “pigeons… witches” whispering ownership, reads like a gothic fairy tale: a union with tremor, danger, and enchantment.
The bridge distills the conflict to its emotional essence:
“All I can give you is a street sign / … your name in lights forever / And ain’t that so much better / Than a ring on my finger?”
The narrator offers spectacle, lasting fame, public inscription—rather than conventional commitment. It’s a bargain: blistering devotion in lieu of normative promises.
Real Background and Artistic Context
The band situate "From the Pyre" as an album-as-mythos: a space where personal narratives are refracted through elemental symbols. In interviews, they describe turning everyday emotional crises—ghosting, heartbreak—into high drama, where longing becomes duels, where romance dances with destruction.
Singer Abigail Morris and guitarist Lizzie Mayland have also acknowledged their upbringing in Catholic schooling as formative, granting them a trove of religious imagery that they now repurpose to explore identity, sexuality, and emotional conflict. In fact, Mayland says that "Agnus Dei" began as a response to warmongering men and a protest against passive complicity—transforming political anger into personal apocalypse.
Musically and thematically, this song opens the album as a portal: it sets a tone of theatricality, spiritual urgency, and emotional extremity. Critics note how "From the Pyre" weaves gothic, baroque, and psychedelic elements to underpin its mythic ambitions.
Why It Resonates
For the listener, "Agnus Dei" invites two levels of engagement: on one level, pure emotional surrender to fevered imagery; on another, a reckoning with how we mythologize love and sacrifice. It’s not just worship or romance—it’s devotion in extremis, a fusion of eros and eschaton. In offering a street sign or name in lights instead of a ring, the narrator asks: what is love in an era when traditional symbols feel inadequate? The spiritual costume (lamb, apocalypse) becomes a vessel for urgent, messy devotion.
In short, "Agnus Dei" marks "The Last Dinner Party’s" bold opening gambit: to dress inner emotional storms in the garb of myth and ritual, and to dare their listener to feel both sanctified and sullied all at once.
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FAQ Section
Who sung the song "Agnus Dei" by The Last Dinner Party?
The song "Agnus Dei" was sung by The Last Dinner Party.
Who wrote the song "Agnus Dei" by The Last Dinner Party?
Aurora Nishevci, Abigail Morris, Georgia Davies, Casper Miles, Emily Roberts & Lizzie Mayland.
Who produced the song "Agnus Dei" by The Last Dinner Party?
Markus Dravs.
Music Video
Song Details
Artist: The Last Dinner Party
Album: From the Pyre
Genre: Rock
Language: English
Released: October 17, 2025
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