DS Album Review: Lost Legion – “Behind The Concrete Veil”

Emotions are categorized as primary – the initial emotions felt as a reaction to a situation – and secondary – the emotions that follow up as a response to the primary. Anger is usually categorized under the latter group; it is a human reaction which sometimes acts as a mechanism for self-defense when facing disgust, sadness or surprise which would be some of the recognized primary emotions. With this in mind, the perspective in which we see bouts of anger completely changes since there is now another layer of complexity to the situation for analysis; it is not only a matter of just anger, but a primal response to the emotion caused by something.

In their latest LP, Behind The Concrete Veil by Chicago’s own hardcore and Oi! Punk band Lost Legion, lies an incredibly powerful exploration of the anger and underlying emotions experienced by the ever-growing feeling of disenfranchisement in today’s cultural setting; sometimes heightened by psychedelics, and sometimes caused by a collective deterioration of mental health. In terms of sound and content, the 10-track album features an ever-present dark and cynical tone, both musically and lyrically all throughout, which helps bring all the songs together cohesively, and allows the study of different topics without jarring changes between the tone and mood each song creates.

Without fully deviating from their sound established in previous eps and demos, in “Behind The Concrete Veil” the band crafts a significantly more defined tone that comes across as significantly more confident and assertive. Every musical element in this record works together in the same way a “war machine” would. The pummeling, explosive drums synchronize with the blade-sharp, dry, distorted guitars that set up the general sense of emotional dread that reoccurs throughout the LP. The metallic sound of the bass drives the songs forward coupled with unrelenting and aggressive vocals creating a rough and oppressive sound that alludes to the primal nature of mankind and the angst and frustration depicted all throughout.

Within the context of Oi! Punk and Hardcore, this LP achieves what it sets out to do quite effectively. It is raw and visceral. In a way, it also seems quite contained within its genre. This album is not trying to redefine the musical style, or experiment within it. Whether or not that is a positive or a negative, it really depends on the listener, but in this specific sub-cultural context it sets a space for itself perfectly well; just like a puzzle piece in the most efficient way possible. The guitar licks, and riffs, for example, are not necessarily simple — a better way to describe them would be pragmatic, just like a war machine is supposed to be.

One notable track from this album would be the third one titled “The Animals We Used to Be.” This nostalgic song exemplifies one of the recurring themes explored, humanity’s repressed most basic and primal instincts in the dystopian present in which we live. The track is a longing cry for the freedom humans had and lost somewhere along the way, and the complexity of the frustration and sadness that comes with it. Conceptually, this idea seeps through “War Machine,” “Fangs,” and “Primitive,” creating a common thread all through the album.

While neither the band itself nor this LP are overtly political, to create an introspective exploration without touching on some of the fears and emotions that lead to some of the root causes for what are considered political topics is inevitable. “Silhouettes in Blue Lights” and “Disposed” are the two examples of the political undercoat of the album —the first one touches on the tension and divide in between the police and civilians, and the latter about the societal and economic use and disposal of humans for profit. There is an argument to be made for the whole album to be seen as political, but ultimately the human condition, the fears, the anger, the frustration, will always transcend politics, and are universal by nature. 

Overall, this album is a great listen; it pulls elements from bands like The Effigies, and The Trouble, while still sounding much like themselves. The LP was released under the Basque punk and hardcore record label Medeku Diskat, and can be found in the band’s bandcamp site as well as Spotify.