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The Reconstruction


The idea to fully reconstruct the album came up in 2014. It became clear from the start that the original tape should be treated as a demo, and the album would have to be re-recorded from scratch, with the lyrics re-written and drums live. It seemed like a lot of work, and even though some guitar tracks were recorded at that time, the project was shelved in order to focus on Of Things and Beings.

In May 2018, Andy undertook a titanic job of replaying all the instruments by ear, guided by the 1992 tape (excluding the Midnight in Venice which was scored in 1992). After that, Vasya was summoned to record the flute and vocal parts, which he did on June 28-30, 2018. Just two days before, the flute parts for Spheres Aligned were also recorded.

The last phase: confined to his apartment by the pandemic in 2020, Andy searched the internet for a drummer. The young and versatile freelance drummer Matt Brown was found, and from his studio in London, he recorded the drums in June-July 2020. The album was mixed and mastered in November-December 2020 by Andy and Alex.


The Original Premises


1991-1992 academic year is our third year at the Academic Music College, Moscow. Vasya is living with his mom, an acoustic guitar, and a cat in a tiny apartment near Paveletzkaya Station. Andy lives in a college dorm room #8 with Alex and Misha, two fine piano students. Andy, a self-proclaimed guitar and bass player, is in possession of a double cassette tape recorder, a Diamond bass guitar, a Formanta electric guitar, and a Yamaha VSS 200 keyboard brought from Japan by his older brother. A borrowed Boss drum machine is also involved. Hardly top-notch equipment, but at that moment it provides enormous inspiration and a possibility to write and record our own vision of what art rock music is about. Vasya tapes his demos at home and then comes to the dorms to drink tea and record. Alex has soldered five 5-pin jacks together, thus resolving the problem of an absent mixing desk and enabling overdubs. The general understanding is that we are wasting valuable time doing this, instead of practicing Bach and Tchaikovsky.


Original lineup:


Vassili Soloviev – vocal, flute, guitar, keyboard

Andy Didorenko – vocal, bass guitar, guitar, violin

Mikhail Ralenko – keyboard

Alexander Akimov – keyboard


Faithfully reconstructed in 2018 - 2020 by:


Vassili Soloviev – vocal, flute

Andy Didorenko – vocal, bass, guitar, keyboards, violin

Matt Brown – drums


Track by Track


The Underpass Theme

Transferred from the original tape. The street noise was recorded on March 17, 1992, at 9-10 PM at Park Kultury Metro station. Andy's melody, along with the coin drop, was recorded by Vasya in the dorm shower.


I Wanna Drift Away

One of Vasya's first songs, written in November '90. Originally recorded between April 2 and May 20, 1992. Andy and Vasya wrote their first song together in the spring of 1990, thus forming the long-lasting future partnership. Most of the songs and compositions, however, were written individually and later developed and finished together.


Day City

Conceived by Andy on guitar and bass in December '91, and reworked in collaboration with Alex on June 4, 1992. The concept of a man lost in a city is one of the recurrent themes in Lost World Band's music. Moscow has changed radically since then (except for the weather - you can go for weeks without the sunshine). In 1992, it was a bit scary yet very exciting to live there.



Originally titled 'She', Vasya's opus about unrequited love was the first-ever melody he brought to his bandmates to adore in the early autumn '90. It was later embellished with a Vivaldi-esque introduction and a middle section. Admittedly, not one of the band members was in a successful relationship at that moment. The sexual frustration was suppressed and took a form of romantic lyrics and music.



Written in the fall of 1991, Andy's song, inspired by Prokofiev's theme from Romeo and Juliet, was cleverly transposed and fully reworked, with time signature changed from 3/4 to 6/8 and melody and lyrics added on top. Naturally, the Dance of the Knights, a.k.a. Montague and Capulet, was also adapted for a rock version but not recorded on the album. Half a year later, to our astonishment, we learned that ELP did it on their Black Moon album.


Cold Moon Bolero

Originally, this spontaneous improvisation by Andy on guitar and Vasya on flute in an old, half-demolished church on July 15, 1992, was inspired by the enigmatic acoustics of the place. Later, Vasya added two more flute lines to it, and Andy came up with the bass. Not included on the original album but presented here to complete the picture. The word Bolero was added to the title to acknowledge that the first element of the melody resembles the famous Ravel's Bolero.


Going Back Home

Andy's song, written in October '91 and recorded between March 19 and May 20, 1992. It was considered pretty advanced to have a riff and two separate melodies running at the same time. Per Alex's suggestion, the 5/4 bridge was added. Misha contributed a keyboard solo. Same as the rest of the lyrics on the album, while preserving the original idea, words were re-written by Andy in 2018 and edited by Yuliya Basis.


Midnight in Venice

On July 12, 1992, Andy appeared at Vasya's dacha to walk along the fields, play soccer, and compose a string quartet with his friend. An extra challenge was added by the absence of the piano. The third movement of this quartet, written solely by Vasya, is presented here as a later addition to the album, played by Andy on four acoustic guitars.


Mind Stream

Uncharacteristically, a pop song, written by Andy on April 27, 1992. Lost World wasn't supposed to be a pop album, but this one sneaked in because it had a rhythm pattern running through and a nice bass guitar riff. Another fine solo contribution by Misha.


House of the Past

Written by Vasya with Andy's lyrics in the fall of 1991. Recorded June 3 – June 11, 1992. Andy and Vasya re-recorded Vasya's flute and vocals in two sessions in June 2018. 26 years passed since they had sung and played these compositions. It was the strangest mix of feelings, a whole life lived between now and then, a touch of nostalgia, flashes of memories, a bit of pride that our very first opus still sounded imaginative and mellifluous. All the flute parts were recorded in one or two takes, although the vocals took much longer to recapture.



At the end of May '92, Andy and Vasya conceived a psychedelic improvisation on bass and flute which incorporated the elements from the Underpass Theme and the unprecedentedly beautiful melody Vasya wrote in the fall of 1990. The chord progression of this melody was absolutely enchanting. The original version was recorded in one take and completed on June 19, 1992, after Vasya overdubbed an organ part.
There was a joke from the mock interview Andy and Vasya improvised: 'Have you written anything for a flute, double bass and a hi-hat?' It did sound funny, like a totally random set of instruments.
On the other hand, a bass guitar and flute duet was very appealing for both players. It gave each instrument lots of space, and they would never interfere with one another. There were no drums in the original version, but Andy took the risk of asking Matt to come up with the drum part. Thus the integral hi-hat part was added, and the flute/double bass/hi-hat trio is now complete.



Vasya's composition, a conflation of his song from the fall of 1990 and a guitar prelude of the same period, with Alex's melody on top. Although Andy and Vasya considered themselves a team of songwriters, they each had a distinct approach. While Andy leaned towards simpler rock sound, Vasya added classical music flavors to his compositions by using advanced modulations, broken time signatures, and more.


The Underpass Theme (Reprise)

Andy's theme, here re-harmonized by Misha, originally recorded on the keyboard, re-recorded in 2019 by Andy on violins.


Night City

A fast art rock composition written mostly by Andy with various suggestions from Alex and Misha. It brought together many riffs and elements evoking the image of a speedy drive through the city at night. It was originally recorded live by Andy on bass, Misha on piano, and Alexey (our younger friend) on violin. The recording was only possible because Misha had the ability to play all the riffs and solos at an incredible speed, and also “pull off Emerson” - play 5/8 and 7/4 simultaneously. Recorded on June 10-11, 1992 



Please visit our LWBClub Youtube channel for the latest archive and fun videos


Заходите на нашу LWBClub Youtube страницу, где мы выкладываем архивные, смешные и домашние видео, связанные с нашей группой 

Unofficial complete recording of our last gig at Vermel Club, Moscow,
December 30, 2019

Click to watch

Концерт в клубе Вермель, 30 декабря 2019 года



April 30, 2006 Live in Unplugged Cafe. Yuliya Basis (keyboard), Andy Didorenko (guitar, violin), Veniamin Rozov (drums), Vassili Soloviev (flute, vocal, guitar)

Редкий сет-лист, единственный концерт в этом составе. Затерянный мир закончил запись "Пробуждения элементов", одновременно с новыми песенными альбомами.

Концерт: Саундчек, Пробуждение элементов, Серенада, Падай, Предыдущая ночь, Если ты будешь солнцем, Траекторя 1, Траектория 2, Самум, Неизвестной Наташе, Шостокката, Было в Лондоне ветренно, Полёт металлического шмеля/Бумеранг, Пробужение элементов (не полностью) 


March 28, 1999 with Aleksei Ribakov on vocal

Click to watch

Выступление 28 марта 1999 года с участием Алексея Рыбакова (вокал)


Сет-лист: Полёт птеродактиля, Воспоминание, Она танцует, Принцесса, Полная неподвижность, Сумасшедший старик, Ой мороз-мороз, Полёт металлического шмеля






January 1999. Very first performance available on video

Click to watch

Первое выступление Затерянного мира, записанное на видео в январе 1999 года. 

Александр Акимов (клавишные), Василий Соловьёв (флейта), Андрей Дидоренко (скрипка)

Сет-лист: Ремиссия, Воспоминание, Полная неподвижность, Полёт металлического шмеля


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© Lost World Band, 2014-2017