French sonic cinematographers LOST IN KIEV have refined their unique take on instrumental post-rock for more than a decade now. Their latest album “We’re All Going To Be Fine,” which is actually the band’s debut under their updated name, LOST IN KYIV, is one of the best post-rock-flavored selections with a metal edge released in 2026. Part of its appeal stems from the fact that, after a few albums with more general themes, the new outing feels more introspective and personal in its exploration of the tangled-up relationship we have with ourselves – and in doing so, the new album feels as though picking up from where their sophomore 2016 outing left off. The band is now on Pelagic Records‘ roster, but their sophomore full-length “Nuit Noire,” released on September 2nd, 2016, came out through Dunk! Records, and it was the very album that introduced me to their unique sound. I’ve seen the band’s signature sound dubbed post-metal more than once, but I’m not so sure. I mean, compared to bands such as NEUROSIS, ISIS, or CULT OF LUNA, these rogues traverse remarkably softer sonic terrain. On the other hand, some of the riffs are heavier than your typical post-rock oeuvre. Still, I feel tempted to stick to the post-rock moniker since the songs do not feature harsh vocals at all. In fact, the songs feature only spoken-word samples instead of vocals, and contrary to the common post-rock convention, the band has written these snippets by themselves rather than resorting to using soundbites from old movies. Movie samples are about playing it safe, in a way, because they come loaded with that extra gravitas – well, at least for those who have seen the movie. Plus, APRIL RAIN set the bar extremely high with their 2014 crown achievement, “One Is Glad To Be Of Service,” in this respect. With self-made samples, you can build a world of your own from scratch. Here, these “voice-overs” are conducted by two voices, one male and one female, creating nothing short of a haunting narrative to the songs. As far as I could gather, the story seems to be about a separation – the woman is trying to find her partner who has become a wandering ghost of sorts, lost in the mystical-spiritual realm of the night.
The opener, “Narcosis,” kicks off with a subtly post-metal-esque footing; the tribal drums, chanting, and spacious guitar textures would work as a fine intro to any post-metal onslaught. The riffs crush pretty heavily later on, but I’d say the song never fully gears up on the post-metal front; the voice-overs and post-rock guitars rather tone the metal vibes down quite a bit. I wouldn’t call RUSSIAN CIRCLES post-metal either, and some of their riffages are pretty damn heavy as well. None of this nit-picking about the correct label is important, though. The song creates a captivating atmosphere right from the get-go – and it is all that really counts.
The post-rock plot only thickens further into the album. “Insomnia” even throws in some nice, cinematic synth textures, tipping the scales subtly toward the sound of late LONG DISTANCE CALLING. Such slow-sweeping “Blade Runner” synths work wonders every goddamn time if you ask me! Then, the triplet riffs in “Mirrors” almost resonate with the frantic air of the now-defunct Finnish post-rock squad, MAGYAR POSSE, whose riff-origamis were top of the class back in the day. The song isn’t even very uptempo, but the mood is substantially more intense – and it only further intensifies in the title track up next. Pacing is one of the best fortes of these French rogues, that’s for sure: the atmospheric sections and tight riffs alternate pretty nicely throughout the album with neither really out-staying their welcome.
The title track seems to be a turning point in the storyline; the first half of the album features most of the album’s uptempo riffers, which makes sense in terms of building momentum. After the midpoint, the songs gear up on a slightly more plaintive ambience and slower tempos.“Somnipathy” refers to a sleep disorder that is somewhat akin to a hypnotic state, and it captures the song’s feel down to a tee. “Resilience” picks up the pace in a highly emotive fashion, and the closer, “Emersion,” brings the journey to a close on an equally poignant note. It remains a bit unclear whether the protagonist in the lyrics ever found what she was looking for, as the last song poses a wish that the night would never end. The closer is the only song that features a little bit of actual vocals. In my opinion, the song would have been better off without them, but that’s just me. I think it works for the best that the voice-overs only make subtle hints at how the story goes. It leaves room for your own interpretation. The music might suggest a certain tone for the outcome, but still, it’s entirely up to you how it turns out.
If there were countries that could be considered “superpowers” in post-rock, France is certainly one of them, along with Poland and Japan. French post-rock bands have a distinct knack for creating immersive, cinematic sound canvases that feel like stepping into a Renoir painting – except that, on this album, LOST IN KYIV has removed most of the brighter colors from the palette altogether, creating an impression of an almost monochrome version of Renoir. Still, there’s something utterly enchanting in these darker shades. It’s almost as if these songs posed a question: If you ever became lost in the night, would someone come and search for you?
Written by Jani Lehtinen
Tracklist
- Narcosis
- Insomnia
- Mirrors
- Nuit Noire
- Somnipathy
- Catalepsy
- Resilience
- Celestial
- Emersion
Lineup
Yoann Vermeulen – drums, samples
Maxime Ingrand – guitars, synths
Dimitri Denat – guitars
Jean Christophe Condette – bass, synths
Label
Dunk! Records
Links
https://lostinkyiv.bandcamp.com
