Lost in Kyiv have never been content to stand still. Throughout their career the French instrumental outfit have continuously refined their approach, blending expansive post-rock with electronic experimentation, but We’re All Going To Be Fine feels like the moment everything clicks into place.
The album’s painstaking creation is evident from the outset. Every transition feels deliberate, every crescendo earned. Rather than rushing towards the obvious pay-off, Lost in Kyiv allow their ideas room to breathe, building tension through carefully layered arrangements before unleashing moments of immense emotional weight. It’s an album that rewards patience, revealing new details with every listen.
The band’s ability to balance organic instrumentation with electronic elements remains one of their greatest strengths. Sweeping guitar lines drift across dense beds of synthesisers, while pulsing sequencers and subtle textural flourishes inject a constant sense of movement. The result is cinematic without feeling overproduced, ambitious without sacrificing emotion.
A significant factor in the album’s evolution is the arrival of new drummer Jérémie Legrand. His influence is impossible to ignore, bringing a renewed focus on rhythm and groove that pushes the band into exciting new territory. The percussion throughout feels sharper, more intricate and often more aggressive than on previous releases, providing a powerful backbone for the album’s expansive arrangements.
“Burst” immediately announces this new chapter. Driven by an irresistible central riff, it balances crushing heaviness with impressive attention to detail. Every bend, accent and rhythmic shift serves a purpose, propelling the track forwards with relentless energy.
That rhythmic focus becomes even more apparent on “Mantra”, where glitch-inspired electronic elements intertwine with the band’s increasingly post-metal leanings. It’s a bold step forward that never feels forced, showcasing a group willing to expand their palette while remaining true to their identity.
Elsewhere, “Eclipse” demonstrates just how heavy Lost in Kyiv can be when they choose to lean into their more aggressive instincts. Yet despite its intensity, the band’s gift for atmosphere remains intact, ensuring the track never loses its sense of scale or melody.
Perhaps the album’s biggest surprise arrives with “Becoming”. Featuring a stunning guest performance from HAXA vocalist Rebecca Need-Menear, the track introduces a fresh dynamic that elevates it into one of the record’s defining moments. Her voice sits beautifully against the pulsating electronics and driving instrumentation, creating an emotional centrepiece that lingers long after the song ends.
“Euphoria” is another highlight, built around pounding rhythms, surging synths and soaring guitar work that fully embraces the album’s widescreen ambitions. The spoken-word section adds further weight, helping transform the track into one of the album’s most impactful and memorable moments.
By the time closer “Liminality” arrives, the band’s transformation feels complete. Legrand’s technical prowess is on full display, while the song itself serves as a fitting conclusion to a record built on reinvention and progression.
Few bands this deep into their career manage to sound this revitalised. We’re All Going To Be Fine finds Lost in Kyiv embracing change without abandoning the qualities that made them special in the first place. It’s a bold, confident and often exhilarating statement from a band that continues to push itself forward, and one that suggests their most exciting work may still lie ahead.