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A lot has changed since Lost in Lona's debut "Scared Like A Mother and Her Gun" (2024). Not loudly, but fundamentally. Lidia Beck and Konstantin Aebli, the duo from Basel and Zurich, have honed their sound, stripped themselves bare and found the courage to look where it really hurts. The very first song, the title track of the album "The Killer", poses the uncomfortable question: How much pressure can a young person actually take? In a world full of self-optimization, there is no room for lightness here. Only the quiet realization: I waste my life most of the time. The album tells of excessive demands, of old conversations that echo (Emily), of expectations that lie on the chest like concrete (Disappointing Each Other). It tells of desire that slowly dissolves when recognition fails to materialize (Looking For) and of decisions that never really feel right. "The Wrong Cards" is about how much we sometimes cry out for security while we have long wanted to flee. In "Mathilda", Lidia Beck sings about her alter ego, an inner friend, torn between two worlds. "Hold On" looks deeper: at family patterns that run through generations. "My mother's mum - she was the one to fear her daughter's growth." And then there's "The Movies", a final song like a deep breath at the end. A quiet finale that leaves everything open. Let's go to the movies and guess all the endings, and if they're not soothing, I'm the only one attending. Despite all this heaviness, there is something comforting in these songs. Because they say what many think and rarely anyone says out loud. Because they create closeness where there is otherwise silence and because they show how much beauty there is in honesty. "The Killer" is not a concept album, and yet all the threads are connected. It's about being young in a world full of expectations. About self-criticism, about closeness, about fear, about new beginnings. With The Killer, Lost in Lona are closer to themselves than ever before.
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