Album Review: KINGCROW Hopium

Although they’re often classified as progressive metal, Kingcrow have steadily been introducing other styles—namely, progressive rock and alternative rock—into their compelling chemistry. As a result, they’ve managed to maintain essential elements of what made their 2001 debut LP (Something Unknown) so intriguing while also earning comparisons to the expressive songwriting and nuanced production of The Pineapple Thief, Leprous, Godsticks, and Klone.

Hopium—which follows 2018’s The Persistence—is a superb example of that. Meticulously and irresistibly crafted, it’s likely the band’s most self-assured and complete statement to date, giving fans and newcomers all the reasons they need to celebrate Kingcrow as much as possible.

For unknown reasons, Hopium is Kingcrow‘s first album without keyboardist Cristian Della Polla since 2004’s Timetropia. Just as he did on their earliest records, though, guitarist/backing vocalist Diego Cafolla does a great job coating the tracks with atmospheric keys, digital effects, and the like. Those elements are but a small part of why the LP is so thoroughly engaging and commendable, building off of what worked about its immediate predecessors to yield another sophisticated yet inviting experience.

To be clear, Kingcrow still get enticingly aggressive. For instance, opener “Kintsugi” is driven by tensely repetitious riffs and rhythms alongside moody synths and frontman Diego Marches operatically forceful but vulnerable declarations (“As you see, we’re up against the wall / No escape without a new pale scar”). Throw in some silky backing harmonies and you have a full-bodied display of the group’s power and poignancy. Later, the comparatively intricate “Parallel Lines” and “White Rabbit’s Hole” venture into djent-esque irregularity and punchiness, whereas the title track allows guest pianist Vikram Shankar (Pain of Salvation, Silent Skies, Lux Terminus) to complement its hypnotically frenetic core with a haunting closing solo.

Most other tracks on Hopium are hostile as well, but to lesser degrees so that the band can explore gentler and more emotionally rich environments. “New Moon Harvest” is especially chilling and beautiful, with evocative keyboard notes, strings, and drumming supporting Marches‘ sorrowful admissions (“We rose and fell like old empires / Witnessed our barriers fall / Lit the fire that kept us warm / And let it fade away / But here I am for you again”).

It’s a breathtaking space to occupy, and gratefully, similarly textured and touching moments come during several other inclusions. Highlighted by contemplative acoustic guitar patterns and intersecting vocals, “Losing Game” is lusciously reflective and adaptable, passing through all sorts of emotions with expert precision and creativity. Afterward, closing ballad “Come Through” is gorgeously low-key and earnest, offering a pensive and symphonic coda that’ll leave you in awe long after it fades away.

Hopium finds the quintet at the height of their powers, with every component (songwriting, production, instrumentation, and even sequencing) working together masterfully to deliver an almost immaculate ride. Perhaps more than ever, the group crafts each piece with as much confidence, inventiveness, and most importantly, resonance, ensuring that the entire sequence is as entertainingly robust as it is deeply affective. If you’ve never heard Kingcrow before, Hopium is an excellent place to start, and if you’re already a fan, you’ll cherish it as much as anything else they’ve done.