ALBUM REVIEW: Persona – Lost In Kiev

Almost three years since the release of their previous LP Nuit Noire, Parisian post-rock pioneers LOST IN KIEV are back, slathering a new glaze atop their already unique brand of instrumental rock. With visions of progression in mind they have crafted a lush, cathartic record that conjures imagery of a dystopian future. Persona seemingly marks the beginning of a new era for the band, one in which the structural dynamic and the whole look and feel of their music has shifted.

The album kicks off with its title track Persona, and is a catalyst for things to come. A dull, synthwave intro grows steadily into a rhythmic slur, before slamming into a tremolo-backed explosion of sound. LOST IN KIEV have always lacked a vocalist, and this outing is no different. Their music is their prose, and is built upon cinematographic foundations that prop up a monument of contemporary rock.

Since its dawn, post-rock has used speech samples to compliment it’s soaring ambience, with most bands opting to lend voices from movies or celebrity speeches. LOST IN KIEV take this tradition to the next level by writing their own genuine story line. Ever since Nuit Noir, the band has recorded their own spoken word, as opposed to plagiarising from movies. This is first heard in Lifelooper®, an emotive track that hums with electric energy. Thudding drums pound with precocious rhythm, while 80’s style synth beats like a heart through the final sections. Feeling more like the undertaking of a band like THE MIDNIGHT than anything that LOST IN KIEV have written in the past, it adds dimension to the sparse post-rock atmosphere they so delicately concoct.

As emotionally intense as it is ingenuous, their prosaic and organic music of the past is well weighted against the sci-fi scores, and as The Incomplete and XM3216 continue the story, the dynamic expands yet further. Firstly, a more traditional post-rock number before the latter brings back the space-age bite. Persona is “Written and conceptualised to be reflections on humanity in a fictional futuristic context where artificial intelligence is fully implemented into everyday life,” which highlights the level of ambition shown here.

As with a lot of similar albums, Persona is plagued at times with expansive, drawn-out sections that can feel bland. But for every such moment, the album is redeemed with dexterity. Pygmalion is one such lull, before Mindfiles returns with retro licks and buoyant riffs. The average track length is shorter than previous endeavours, and Mindfiles is a wonderful example of how LOST IN KIEV have adapted to this shorter format. It is compact, yet doesn’t take away from the Herculean scale of their offering.

Psyche is a slow burn. Eerie beginnings drift into repetitive drum work, while a pulsing bass line cuts a winding path up a mountainous slope of exponential volume. At its finale, it is towering, multi-layered splendour, but it does feel as though it takes a little too long to get there. The most eclectic track is Thumos, which flickers with life. At its core, it’s the most metallic track, bookmarked by luscious tones and delicate textures. It tingles with an authenticity, as it’s honest make-up alludes to the intimate compositions they create. LOST IN KIEV‘s manifesto isn’t political or moral as such, instead they create characters that breathe and live to detail the imagery they evoke.

As Mecasocialis concludes the record, it also brings the story to an end, closing the book on what could well be the finest work LOST IN KIEV have produced. That will be subjective, but without doubt they have tried to think outside the box with Persona, and for the most part they have hit the nail on the head.

Rating: 8/10

Persona is set for release April 26th via Pelagic Records. 

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