October 13, 2026 by A.S. Van Dorston

Swedish hard rockers’ seventh album is their heaviest

When one of my top five favorite bands of the 21st century has a new album, it’s definitely an event. At album number seven, there’s a possibility of taking them for granted. However I remember when they broke briefly in 2016, and had that lasted, we’d only have four albums, definitely not enough Graveyard for the world, so I appreciate any new material these Swedes toss to us filthy hordes.

I like to track six album runs by consistently great bands, and the big question is, does this surpass their self-titled debut from 2007? Funny enough, the band circles back to the rawness of the debut, making the bookend albums most similar to each other. While I never considered them a metal band, they sound heavier than ever here, especially on “A Better Cut (Note to Self)” when they doom the fuck out. The production overall has a heavier crunch than anything they’ve done. Heavy isn’t exactly what drew me to Graveyard, but this does serve the material well. As great as 6 (2024) was, it was more of an atmospheric, textured slow burn, while the songs here are more immediate. “Back From the Grave” almost sounds like it could fit on the latest, more metallic Uncle Acid & the Deadbeats album, leathery arms bursting from the ground, lurching into the world with sinister purpose and an ominous thudding beat.

“Tongue Tied” ups the tempo, throws some chairs around, and doses your drink with some wicked psychedelic guitar licks. “Year of the Horse” and “A Means to an End” have familiar sounding structures, but remain close to top shelf tunes. The third highlight is “Time to Tell,” which unfolds in a menacing plod, seething more than lamenting. Truls Mörck’s contribution “Don’t Shoot” is reliably strong, a great transition into “Room Tempered,” a truly swaggering, raucous ride with some wild riffs that fuse 1973-74 era Ted Nugent & the Amboy Dukes with the Groundhogs. All too soon we’re at the end with the longest, atmospheric build-up in the nearly seven minute “Dead Note.” A harmonized female chorus offering some woo-woos at the mid-point is a nice touch, as it builds to a powerful crescendo. So that’s five dead on bangers for sure and no fillers.

The band’s performance and arrangements are flawless, clearly another level beyond their debut. However, those songs from nearly 20 years back still burst with excitement and fire, so it’ll take some time to marinate the new batch and determine it’s ultimate place in Graveyard’s incredible discography. If nothing else, it’s a must hear, and one of the best this year.