GRAVEYARD have released their seventh studio album, Fever, opening the record with “Back From The Grave” and a clear statement of intent. The Swedish quartet are leaning into the heavy psych, blues and hard-rock language that made their sound instantly recognisable, but the new material is not presented as a museum piece. It arrives with the pressure and immediacy of a band trying to make the room move.
“Back From The Grave” sets the temperature
The opening track is built around an insistent groove, thick guitar fuzz and a rhythm section that refuses to settle into background duty. Its accompanying lyric video uses a deliberately vintage visual treatment, but the music itself feels less interested in nostalgia than in physical momentum.
That distinction matters for GRAVEYARD. Their catalogue has always drawn from older forms, yet the band are most effective when those influences become raw material rather than costume. On “Back From The Grave,” the blues foundation is obvious, but the attack is sharper and the low end carries the song forward with modern weight.
A direct response to 6
Fever follows 2023’s more inward-looking 6. The new album turns outward. Its nine tracks favour riffs, compact arrangements and the feeling of musicians reacting to one another in real time. Slower moments still preserve the soul and tension associated with the band, but the overall direction is heavier and more immediate.
That does not mean every edge has been polished away. GRAVEYARD’s appeal depends on friction: a vocal that can sound worn and urgent in the same line, guitars that swing rather than march, and arrangements that leave enough space for the groove to breathe. Fever uses those qualities as its centre of gravity.
Production that keeps the live pulse
The album was mixed by Pelle Gunnerfeldt and mastered by Robin Schmidt at 24-96 Mastering. The production gives the quartet size without flattening their dynamics. Instead of placing every instrument at maximum intensity, it allows the songs to build pressure and release it.
This approach suits a record that wants to feel close to the stage. The guitars remain abrasive, the drums retain a human push and pull, and the bass carries more than simple support. Even when the arrangements expand, they do not lose the sense that four players are driving the same piece of music.
Nine tracks with no wasted motion
The track list moves from the opening “Back From The Grave” through “Tongue Tied,” “A Better Cut (Note To Self),” “Year Of The Horse,” “A Means To An End,” “Time To Tell,” “Don’t Shoot!,” “Room Tempered” and closing track “Dead Note.” The sequence balances hard, forward-moving material with slower turns that give the album emotional contrast.
The artwork was created by Dutch artist Maarten Donders, whose visual language matches the record’s combination of heat, movement and unease. As with the production, the image reinforces the album’s identity without replacing the music’s own atmosphere.
The touring cycle begins
GRAVEYARD are marking the release with Scandinavian dates, including shows with BLUES PILLS, before a broader European and UK touring cycle in 2027. That schedule makes sense for material designed around collective energy. These songs sound built to gain additional weight in front of an audience.
Fever does not ask listeners to choose between the band’s past and present. It draws a line through both: heavy blues at the foundation, psychedelic colour around the edges and a direct rock record at the centre. GRAVEYARD are not returning from anywhere. They are simply playing with the kind of urgency that makes the title feel inevitable.
