Lost In Kyiv – We’re All Going To Be Fine
Release Date: 19th June 2026
Label: Pelagic Records
Bandcamp
Genre: Instrumental, Melodical, Post-Rock, Post-Metal.
FFO: Ranges, Mogwai, This Will Destroy You, Barrens, p.g Lost, If These Trees Could Talk, Bossk, God Is an Astronaut.
Review By: John Newlands
Parisian post-rock quartet Lost In Kyiv return with a slightly altered name and a refreshed line-up. The name change threw me for a moment, growing up in Scotland in the 80s and 90s, “Kiev” was the spelling I knew, mostly thanks to the ubiquity of chicken Kiev. But as it turns out, that spelling is outdated; the internationally recognised English name for the Ukrainian capital is Kyiv. It seems the band, along with most garlic-butter-filled chicken manufacturers, got the memo. And if you’re already swapping out your drummer, why not update the band name too.
But enough poultry talk. What does We’re All Going To Be Fine actually sound like?
Lost In Kyiv continue to operate in the realm of instrumental post-rock/post-metal with a heavier digital and synth-driven core. There are no traditional vocals, though the band’s signature use of spoken-word samples remains central. Track 5 Becoming, is the exception, featuring a genuinely lovely vocal performance from an uncredited singer. HI understand that historically, the band have created most of their own samples, but here we also hear Carl Gustav Jung in the closing track, adding a philosophical edge to the album’s closing.
Where previous records followed broad conceptual narratives, this album turns inward. The band explain: “we wanted to explore the fragility of mental health and the human psyche, the relation we have with ourself.” That introspective focus is reflected in the music’s tone and pacing.
The group also experiment with new instrumentation, notably baritone guitars and alternate tunings, which deepen the sonic palette and push their sound into heavier territory. Despite these shifts, the core identity of Lost In Kyiv remains intact feeling atmospheric, cinematic, emotionally charged.
We’re All Going To Be Fine has riffs that wouldn’t feel out of place on a Deftones or SOM record (minus the shoegaze feel) and there are moments across the album that evoke Kent’s post-metal titans Bossk, albeit with a more electronic backbone, and even flashes of Tool. Yet throughout, the band maintain a clear, recognisable thread, this is a Lost In Kyiv album.
For me, the first four tracks are the strongest. The back half of the album contains the most progressive feeling tracks, leaning into krautrock-style repetition and spacey arpeggiated synths. It’s still a great, but it lands with slightly less impact, relying more on synth hooks than the guitar-driven momentum of earlier moments.
Final track Liminality is the shortest piece here and functions more as a vessel for the closing vocal sample than a standalone composition, gently ushering the album to its end.
Overall, We’re All Going To Be Fine is a compelling and beautifully produced instrumental post-metal release. Its one of the strongest I’ve heard in the genre this year. I’ll be returning to it whenever the mood calls for something introspective, atmospheric, and weighty. So if polished, emotionally resonant instrumental post-metal is your thing, treat yer wee ear holes some Lost In Kyiv this Friday.
(4 / 5)
