After more than ten years of constant evolution in the Post-Rock scene, Lost in Kyiv return with a work that marks both a breaking point and, simultaneously, a rebirth—sanctified by the symbolic change in spelling from “Kiev” to “Kyiv.” The new album, “We’re All Going to Be Fine,” out June 19, 2026 via Pelagic Records, is presented by the band themselves as the beginning of a new era, characterized by a more visceral, brutal, and markedly metal-oriented sound compared to the past. While the previous chapters of their discography explored vast horizons and universal themes, this time the Parisian quartet chooses to look inward, delving into the fragilities of mental health and the labyrinths of the human psyche. Under the intellectual aegis of Carl Jung, the band constructs a cinematic sound architecture where rhythmic precision—almost mechanical—merges with emotional explosions, tracing a path that constantly oscillates between inner collapse and a hope as fragile as it is stubborn. “Enlightened” serves as a threshold: ambient melodies with distinctly electronic traits envelop the listener with a ritualistic slowness, before a vocal insert treated with effects accompanies its closure, setting the stage for what follows. From the very first notes of “Burst,” the band’s new stylistic trajectory is clearly manifested. The track doesn’t lose dynamism; on the contrary—with the entry of Jérémie Legrand on drums, the focus immediately shifts to the rhythmic grooves, which become the backbone of the entire arrangement. Electronic melodies expand and intertwine with riffs built with care and structural solidity, blending the cinematic traits of post-rock with the more direct and Heavy openings of post-metal. The intricate rhythms, enriched by elaborate time changes, leave the guitar and electronic textures the freedom to expand in open spaces, where the band develops spoken vocal patterns that accurately convey that sense of fragility—the same that forces those afflicted by psychiatric conditions to move in a world that seems designed for a different threshold of perception. The track’s ambient closure creates an enveloping atmosphere, a deceptive calm, before the entry of the following suite. “Mantra” opens on Jérémie‘s grooves and progresses by precisely incorporating an electronic section, with sounds simulating a constant crescendo of tension. The result is one of the moments where the band’s essence emerges most clearly: the live recording of the album enhances every interaction between the four musicians, making the physical presence of the performance tangible. Time changes alternate Atmospheric and Heavy passages with electronic sections of dilated sounds, enveloping the listener in a dense and dark atmosphere. “Eclipse” develops the theme with more introspective sounds, accurately conveying the sensation described by the title: thoughts become clouded, reoccurring and deforming as the composition progresses, while the band grafts increasingly Heavy elements into the melodic fabric. The keyboards build a harmonic language made of unresolved progressions that generate a persistent undercurrent of unease—a sonic reflection of the emotional highs and lows that Jung observed in his patients: moments of lucidity suddenly overwhelmed by peaks that the mind struggles to manage. “Becoming” introduces the refined voice of Rebecca Need-Menear—also known for the projects Häxa and Anavae—in a track that balances intimate and introspective passages with dense parts, where more aggressive riffs lean on a rhythmic section with deep, driving bass and groove-Heavy drumming. The vocals manage to be melodic and enveloping, but also incisive, especially in the spoken parts, creating a blend of dreamy yet restless melodies—a calibrated expression of that anxiety-permeated fragility that the record explores in depth. As the title suggests, “Euphoria” addresses one of the most ambiguous—and paradoxically, most painful—moments experienced by those living with psychiatric disorders. The album’s longest track hides within it a structure of rare dramaturgical precision. The initial euphoria transforms without warning into a dark and tension-filled atmosphere: a spoken vocal makes all the original charge and power dissolve, as if a veil fell over the mind, a filter that disturbs and corrodes the pleasures euphoria promises, reducing it to an often unmanageable memory. In the second part, a female spoken vocal drags the track toward an increasing intensity: Jérémie‘s percussive drumming—a mix of technique and power, always placed at the right moment with elaborate time changes—elevates the composition to another level. The guitar arpeggios take on increasingly Cinematic and heavy traits, culminating in a dense and expansive sound, with bass lines that give body and substance to the melodic geometries of guitar and keyboard. A choral performance by the band that accurately describes the peaks of euphoria and its sudden collapses, translated into nine minutes of music that leave the listener struck and provided with ample room for reflection. “Liminality” (7:18) concludes the journey into the human mind and defines its contours, conveying the feeling of those suspended spaces that the very concept of liminality evokes—explored through the post-metal register of this new incarnation of the group. It is here that the band’s stylistic evolution and Jérémie’s contribution behind the drum kit are most evident compared to the rest of the record. After more than five minutes of direct and incisive post-metal, Carl Jung’s recorded voice makes its entrance over a dark and electronic soundscape, closing not only the album but the conceptual circle that governs it. To celebrate this track, the band has prepared an extremely limited edition colored vinyl version, appropriately named the “Liminality Edition.” “We’re All Going to Be Fine” emphasizes the musical evolution of the band and the decisive contribution of Jérémie Legrand, whose drumming allows the new artistic direction to find a rhythmic backbone suited to the project’s ambitions. The album’s theme, developed through long instrumental textures, manages to capture and transpose those sensations and emotions into music with an internal coherence rarely achieved in the genre. The sound alternates heavy and direct passages with dilated sections, maintaining in the more cinematic openings that melodic and enveloping touch that has always distinguished the band—but evolved, sharpened, oriented toward a new artistic direction. The name change and this new incarnation bring a breath of fresh air to the group’s sound architecture: the heavier elements harmonize naturally with the album’s theme and its emotional peaks, masterfully described through notes. Immersing oneself in this listen is an experience that will not leave you indifferent. On June 19, 2026, be ready to explore the most hidden sides of the human mind with Lost In Kyiv.
Tracklist
01. Enlightened (1:47)
02. Burst (6:41)
03. Mantra (4:14)
04. Eclipse (5:57)
05. Becoming (5:51)
06. Euphoria (9:06)
07. Liminality (7:18)
Lineup
Jean-Christophe Condette / Bass, Synths
Dimitri Denat / Guitars
Maxime Ingrand / Guitars, Synths, Machines, Programming
Jérémie Legrand / Drums, Programming