There’s a point in trying to help someone you love when you realise that caring about them might not be enough. It’s a difficult thing to accept, and it’s the experience at the centre of “Lost Kin,” the latest single from Dutch-Belgian metal band No Kings Allowed.

Released on October 30, 2026, the song marks the beginning of a new chapter for the six-piece. After exploring war, oppression, and conflict across earlier releases, the band is turning toward stories drawn from its own experiences. “Lost Kin” tackles addiction and the helplessness of watching someone close struggle, using shifts between melody and aggression to reflect the emotions behind the story.

There’s plenty happening beyond the music, too. New masks, a more collaborative songwriting process and an album planned for September 2027 are all part of the band’s next steps.

For this edition of DeadNote Sessions, guitarist and producer Jan Peter van Gaalen, known as Red, talks about the making of “Lost Kin,” the changes happening within No Kings Allowed, and why the band is becoming more selective about the music it releases.

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DeadNote: “Lost Kin” comes from a real experience within the band, involving someone close struggling with addiction. What led you to turn that experience into a song? Was it something you’d been thinking about writing for a while, or did it happen more naturally?

Jan Peter van Gaalen: With our upcoming album, we wanted to explore a more personal side of No Kings Allowed. Our previous releases often focused on larger themes like war, oppression and conflict, but we felt it was time to look a little closer to home.

The story behind “Lost Kin” came from a personal experience shared by one of our band members. I won’t go into the details out of respect for those involved, but it gave the song a different dimension.

Interestingly, most of the instrumental was already written when the lyrical concept came together. We then went back and changed the arrangement, expanded the intro and added a quieter, more emotional section.

Instead of simply fitting lyrics to an existing instrumental, we allowed the story to shape the music itself. We carried that approach through to the music video as well.

DeadNote: One of the hardest parts of watching someone struggle with addiction is realising there’s only so much you can do to help. How did you find the words to express that feeling? Was there anything you struggled with when trying to capture it in the lyrics?

Jan Peter: Surprisingly, putting those emotions into words wasn’t particularly difficult.

I think that’s because the subject is so recognisable. Most people can relate to wanting to help someone they care about while realising there’s only so much they can actually do.

The lyrics came together relatively quickly, and everyone in the band could connect with the emotions behind them in their own way.

We didn’t have to force anything. Once we knew what we wanted to express, the words came quite naturally.

DeadNote: When you’re writing about something this personal, deciding how much to share can’t be easy. Did you find yourselves holding anything back while working on “Lost Kin,” or did you feel it was important to be as open as possible?

Jan Peter: I actually think it’s incredibly important to be open.

We’ve often written about larger concepts, and on top of that, we’re six guys wearing masks onstage. That naturally creates a certain distance between us and our audience.

But ultimately, music should bring people together.

We want to write songs that tell stories, make people feel something or encourage them to reflect on their own experiences.

Personal struggles, relationships, addiction and loss are things people might recognise much more directly than some of the larger themes we’ve explored before.

That’s why we wanted to be emotionally honest with “Lost Kin,” while respecting the privacy of those involved.

DeadNote: “Lost Kin” shifts between some seriously heavy sections and a much more melodic, open chorus. Was that contrast something you had in mind from the beginning, or did the song take that shape as you worked on it?

Jan Peter: We’ve always loved experimenting with dynamics. Combining atmospheric passages with incredibly heavy sections is a big part of our sound.

With “Lost Kin,” those contrasts also became part of the storytelling.

The song starts relatively calmly before building in intensity. Later, we return to a quieter section that represents a moment of hope. That feeling of thinking, “Maybe I can still help this person.”

As the song progresses, everything becomes increasingly intense, eventually reaching a much heavier climax.

That reflects the difficult realisation at the heart of the story: you can love someone deeply and support them through their struggles, but you cannot overcome an addiction for them.

You can offer support, but you also have to recognise your own limits. We wanted that emotional journey reflected in both the music and the video.

DeadNote: You’ve mentioned that choosing “Lost Kin” as the first single wasn’t an easy decision. What eventually made it the right choice? Was there another song that nearly took its place?

Jan Peter: We’ve actually written quite a lot of new material already, and initially, we had another song in mind.

But the more we worked on the album, the more we realised that “Lost Kin” was probably the best representation of where we want to take No Kings Allowed.

Our sound has always been about combining melody with heaviness, and this track brings those elements together while introducing a more personal side of the band.

It felt like the perfect introduction to our next chapter.

And perhaps most importantly, all six of us genuinely believe it’s a really strong song. We’re incredibly proud of what we’ve created.

DeadNote: With Dethroned Reimagined, you went back and revisited material from the band’s earlier days. Did spending time with those older songs change the way you approached writing new music? Was there anything you rediscovered about yourselves along the way?

Jan Peter: I think it influenced us indirectly.

Someone recently commented on YouTube that they barely recognised No Kings Allowed anymore when comparing “Dethroned” to “Lost Kin.” They felt we’d lost some of our original energy.

We actually see it quite differently!

If anything, we’ve been consciously trying to bring back more of the epic and melodic elements that defined our earlier material.

With Dark Reign, we explored a much heavier and more aggressive direction. We’re proud of that record, but we also realised how much we enjoy combining heaviness with big melodies, orchestration and atmosphere.

That’s not to say we’re becoming softer. Not at all!

Revisiting those older songs also made us reconsider aspects of our mixing and production. It encouraged us to think more carefully about what makes No Kings Allowed sound like No Kings Allowed.

DeadNote: After having your original masks and touring equipment stolen in Italy, there was some confusion about whether you performed without masks. What actually happened, and what led to the new designs?

Jan Peter: First of all, I’d like to correct one small detail: we actually never performed without our masks! Luckily, most of us had spare masks, and we immediately arranged replacements for those who didn’t.

The theft was obviously a terrible experience, but it didn’t fundamentally change what the masks mean to us.

With the new designs, we wanted something that better reflected each band member’s identity. We also improved the proportions and aesthetics based on our experiences with the previous masks.

We decided to completely redesign our stage appearance as well. Our outfits are now much more uniform, while the masks distinguish us as individuals.

But honestly, we also just think masks are really cool! Haha.

We regularly get compared to Slipknot or Mushroomhead, and people sometimes tell us masks aren’t original. We understand that. We’ve never claimed to have invented the concept!

What I find interesting is how wearing a mask affects your performance.

At a recent show, a fan bought one of our replica masks and wore it during our set. Afterwards, he told us that putting it on made him feel almost like a beast, as if he could completely let go of his inhibitions.

And that’s something we recognise ourselves. Wearing a mask gives you a certain freedom onstage. You feel less self-conscious and can really let loose!

DeadNote: With six people in the band, there are bound to be different opinions about where the music should go. When you disagree over a song or an idea, how do you usually work through it? Has the way you handle those moments changed over time?

Jan Peter: Oh, absolutely! There are always disagreements about songs, haha.

Everyone has their favourites, but we’ve established that the entire band should genuinely stand behind a song before we move forward with its full production.

In the past, Red and Green, meaning Lenny and myself, made most of the creative decisions. Nowadays, everyone receives every instrumental and has an equal opportunity to provide feedback.

Sometimes we’ll share something we’re incredibly excited about, only to hear, “Yeah, this is really heavy, but I’m missing No Kings Allowed.”

And that’s valuable feedback!

Usually, it means something essential to our identity is missing. Maybe it’s the orchestration, the melodies or that epic atmosphere.

We’ve also become much more critical about which songs we release.

Previously, we’d write ten songs and think, “Alright, we’ve got an album!”

Now we’re writing considerably more material than we’re planning to release. We’d rather leave a good song off the record than include something we’re not completely convinced about.

We want every track to make all six of us say, “Yes. This is No Kings Allowed.”

DeadNote: There’s an interesting contrast between wearing masks onstage and releasing a song that’s so personal. Do you find that having those separate identities makes it easier to express difficult emotions, or does sharing something that personal still feel difficult, even behind the masks?

Jan Peter: I think those things are actually pretty closely connected, and I wouldn’t necessarily make the distinction bigger than it really is.

When we share personal experiences, we primarily do that through our music. That’s where the emotions and stories are expressed.

The masks are an important part of our visual identity, and wearing one might make you feel a little less self-conscious about going completely crazy onstage, haha.

But I don’t necessarily feel like we’re completely different people with or without them.

At the end of the day, we love our masks, but the music will always come first.

DeadNote: “Lost Kin” tells a personal story, but there are likely listeners who’ve been through something similar. Have you heard from anyone who’s connected with the song in that way? Has anything about the response surprised you?

Jan Peter: It’s still a little too early to give a proper answer, since “Lost Kin” has only been out for a few days.

However, I’m absolutely certain that many of our listeners have experienced similar situations.

I genuinely hope that people who connect with the story feel comfortable sharing their experiences with us through our social media channels.

If our music can help someone feel understood or remind them that they’re not alone, that would mean a lot to us.

So if anyone reading this recognises themselves in the story behind “Lost Kin,” we’d genuinely love to hear from you.

DeadNote: Dark Reign explored subjects like war, oppression and resistance, while “Lost Kin” brings things much closer to home. Was that move toward more personal storytelling intentional, or did the new material simply start taking you in that direction?

Jan Peter: It was definitely intentional.

We love working with larger concepts. From a songwriting perspective, they’re incredibly inspiring. A clear theme gives you endless possibilities for orchestral arrangements, samples, sound design and atmosphere.

But after exploring that approach across two albums and an EP, we felt it was time for something different.

We didn’t particularly feel like writing another entire album about war, oppression or dictatorships.

Instead, we wanted to explore our own experiences and the things we’ve been through as individuals.

That gives the songs a different meaning. They’re no longer just stories built around a concept, but reflections of real experiences within the band.

And I think everyone was ready for that change.

DeadNote: You’ve got a full album planned for September 2027, and “Lost Kin” is our first glimpse of what’s coming. Without giving too much away, what’s something about the new material that you’re particularly excited for people to hear? Is there anything you’ve tried this time that you wouldn’t have attempted on earlier releases?

Jan Peter: Honestly, the thing I’m most excited about is the overall quality of the songs.

We’ve challenged ourselves throughout the writing process, experimenting with different tempos, riffs and arrangements, while pushing ourselves technically in certain areas.

But the biggest difference is how critical we’ve become.

Most of the songs already exist as demos, but there’s still plenty of work to do. We’re no longer afraid to throw away a great riff if it doesn’t serve the song.

A perfect example is “Lost Kin.” On the morning of the vocal recording sessions, we realised something was missing emotionally. So we literally sat down and wrote an entirely new, quieter bridge section that day.

In the past, we probably would have just recorded what we already had!

We’re also aiming for more diversity, with incredibly heavy songs, slower emotional tracks, faster material and some unexpected moments. We want an album people genuinely want to experience from beginning to end.

But what I’m equally proud of is everything happening behind the scenes.

We’ve been building No Kings Allowed for almost three years, and I don’t think we’ve ever worked as hard as we are today.

We’re investing enormous amounts of time into every aspect of the band: songwriting, production, live performances, our visual identity, music videos and promotion.

For example, we spent two full days shooting the video for “Lost Kin.” We still handle so much ourselves, from recording and producing our music to filming, editing and promoting our releases.

It’s incredibly time-consuming, but we love doing it.

We’re also becoming much more strategic. We’re taking more time, planning further ahead and thinking carefully about every release.

A big shout-out goes to Arson Theory, particularly Oli Kult, who’s been a great help with that process. Having someone to discuss release strategies, album decisions and promotion with has been incredibly valuable.

Ultimately, we want to take No Kings Allowed to another level in every possible way: musically, visually and as a live band.

We’re working incredibly hard because we believe in what we’re creating, and we genuinely hope this album will open new doors for us.

And most importantly, we’re incredibly grateful to everyone supporting us. Seeing people come to our shows, listening to our music and connecting with what we do means the world to us.

We’re proud of how far we’ve come, but even more excited about where we’re heading.

Hopefully, this is only the beginning!

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DeadNote thanks Jan Peter van Gaalen and No Kings Allowed for taking the time to share their story.

“Lost Kin” is available now, with the band’s next full-length album currently planned for September 2027.

Listen to “Lost Kin”: https://arsontheory.vyd.co/LostKin

Watch the official music video: https://www.youtube.com/watch?v=iV_0zxcNaLE