On the new album Lost in Kyiv push their identity further than ever: Sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. The band states, “We’re All Going To Be Fine explores the tension between hope and inner collapse, and how modern life can disconnect us from ourselves and each other. The songs were inspired by personal experiences, societal pressure, and the idea that we often become our own worst enemy. We were also inspired by the work of Carl Gustav Jung (who is the voice at the end of the album), especially his ideas about exploring the human psyche, as well as themes from movies like Eternal Sunshine of the Spotless Mind or Melancholia.” Lost in Kyiv’s music has always thrived on tension between the organic and the synthetic. On We’re All Going To Be Fine, that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. The bands says, “We always wanted to write music around strong themes, and for the first time, we decided to focus on something more internal than on previous albums. This time, we wanted to explore the fragility of mental health and the human psyche, the relation we have with ourself.” This is the first album with new drummer Jérémie Legrand. Rhythm plays a central role in the band’s identity — the drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. Embracing a more direct connection with their audience, through studio session glimpses and carefully curated visual teasers, Lost in Kyiv are opening a window into their creative process, revealing the human dimension behind the meticulously crafted sound. This balance between mystery and transparency mirrors the music itself; enigmatic yet emotionally accessible, precise yet deeply felt. The band states, “We almost consider this album as the first record of a new version of the band. That’s why we decided to use the name Lost in Kyiv now. We don’t want to erase the past, but it really feels like a new direction. The choice of spelling ‘Kyiv’ instead of Kiev felt natural to us. We use this spelling more often now and feel it aligns better with our values and how we see the situation. We had been thinking about it for a long time, but we needed the right moment in the band’s history to do it. It’s a change, but it’s still clear that we are the same band. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before.” | 
