Lost in Kiev almost alienated me when I first heard ‘Nuit Noire’. I admit that I’m a bit of an instrumental purist and I rarely go for post-rock with lyrics, much less spoken word. I was too much in love with their first album ‘Motions’ to write off this album so quickly, and I pressed ever onward into the admittedly depressing mood that is ‘Nuit Noire’.
RELEASE DATE: 02 September 2016 LABEL: Dunk!Records
Throughout the album, the listener is given glimpses into the sad love story of a couple who became separated by death, and the woman’s desperate search for her love in the afterlife. It’s hard not to think of my own loss when venturing through the sounds and dialogue, Lost In Kiev is hitting me harder than any other post-rock has in my entire life.
The pieces of the puzzle aren’t entirely given to the listener in chronological order, but what I can surmise is that the man in this relationship incurred some sort of accident, the woman happens upon it, and stays by his side while he’s at the hospital, I assume in a coma. He eventually passes away, and the woman is so heartbroken that she suffers from strange dreams, and resorts to consulting a medium in order to communicate with him for some sort of closure. I found it nearly impossible to not think of the losses I’ve coped with in my life, and that really heightened my experience immeasurably. By the time last track was playing, I was nearly in tears.
The music itself is so intertwined with what’s being said, that it’s hard to tell which came first, the music or the story. Lost In Kiev perfectly blends the right amounts of post-rock and the forlorn ambience that would appropriately accompany such a tragic chapter of someone’s life, and the post-metal that would exactly match the intense emotions that go hand in hand with such a detrimental loss.
Not once did any lack of production value pull me out of this experience of an album, it’s consistently top-notch, and I personally love the mixing and mastering. The recipe for measuring each instrument is carefully measured, there hasn’t any point throughout the album where I thought they highlighted any one instrument too much or for too long.
I think the only way this album could’ve been better is maybe they chose different people for the spoken word roles of the man and the woman, the medium in track 6 definitely sounded like he was speaking with a purpose, the man and woman sounded a little too stiff, uncomfortable with their roles.
The acting could never tear me away from listening to this again from time to time, even if it dredges up memories that tear me up inside. The feelings are way too real, the music has understood these feelings and replicated them with surgical precision, and production effectively enhances both the music and spoken word to create an album that should not, nay, cannot be ignored.