Written by J. Dylan White

After an 11-year album hiatus, Swedish garage rock band The Hives made a welcome return with the release of “The Death of Randy Fitzsimmons” in 2023. Now the band has quickly followed that up with its seventh studio album, “The Hives Forever Forever The Hives,” a bold celebration of the group’s raw spirit.

Despite being the second record in just over two years, there aren’t any half-baked or unfinished ideas present on the LP. Instead, it’s brimming with life and is unbelievably fresh, despite The Hives forming more than 30 years ago in 1993.

Rising to worldwide fame during the garage and punk rock revival of the early 2000s with their 2000 hit “Hate to Say I Told You So,” The Hives became known for their catchy hooks and infectious lyrics.

Packed with the band’s signature grit, “The Hives Forever” channels their relentless energy into 13 tracks of blistering riffs and cheeky, uncut lyricism, proving they haven’t lost their edge. The album blends the raw urgency of their early work with a polished approach, offering fans a familiar musical taste while simultaneously pushing the envelope.

With a 32-minute runtime, each track on the album makes its purpose known and doesn’t labor or linger too long. The abbreviated runtime leaves no excess fat, ensuring every entry on “The Hives Forever” is refined to its fullest.

After the short introductory track, “Enough Is Enough” kickstarts the record with an energetic, defiant anthem of someone who has had their fill of dealing with other people, repeating incessantly “Enough is enough!” while a smattering high-hat and stalwart rhythm guitar guide through the chorus.

“Hooray Hooray Hooray” immediately follows and increases an already brisk tempo in an irresistibly head-bobbing romp that lends itself as a “Blitzkrieg Bop”-esque nod to the Ramones. The choruses come as a small chance to catch your breath between the intense verses and ramps into one of the most intense guitar solos on the record to close it out.

Lowering the temperature slightly, “Bad Call” is a driven clap-along with a ridiculously catchy chorus dipped in shades of The White Stripes. A thunderous kick drum and playful cowbell weave between the orchestration in a delightfully tasteful way.

Recalling some of the former energy that opened the album, “Paint a Picture” taps into the unrefined grime of 2000’s “Veni Vidi Vicious,” the band’s second album. The half-time chorus provides a delicious additional flavor while maintaining intensity without rapid hits.

“O.C.D.O.D.” is a frenetic whirlwind of a track that explores debilitating conditions, as lead singer Pelle Almqvist proclaims, “Can’t call God on the phone / I feel so / All alone / I’m going down.” As the shortest song on the record, “O.C.D.O.D” comes and goes in the blink of an eye.

Leading with a wailing police siren, “Legalize Living” polishes the delivery of the defiant themes present in “The Hives Forever” into a mashup of anti-authority punk attitudes with the glitz and swagger of early Killers. With the insistent, pushing kick in the choruses intertwined in some slightly synthetic instrumentation, a deep cut from “Hot Fuss” is not too far from the imagination.

A small, quaint instrumental interlude follows before the final leg of the album, which kicks off with “Roll Out The Red Carpet.” A light, carefree entry among its gritty, husky counterparts, the track is a short-lived toe-tapper that kicks the album back on course.

“Born A Rebel” trades short, fun guitar and vocal riffs to serve as a juxtaposed background for the track’s message as Almqvist lists the rules and traditions he disregards, instead following his own ethos and code.

One of the catchiest songs on the record, “They Can’t Hear The Music” edges further into an indie punk sound than the traditional raucous anthems trademarked by The Hives.

“Path Of Most Resistance” is built on a slight shuffle that permeates the track as an infectious guitar lick fills the space between the verses. Returning to form with themes of defiance and obstinance, “Path” joins its predecessor as a section of the album featuring newer, sleeker and experimental entries for The Hives catalog.

The title track closes the album with a fuzz-guitar laden anthem begging to be performed by the eclectic and renowned rockers in a live setting. With an easily chanted chorus echoing the song and album name, it has more appeal than it has any right possessing.

The construction and ordering of “The Hives Forever” is immaculate. There truly isn’t a dull moment or any tracks that feel out of place.

The album’s relentless energy is its strength, but a touch more lyrical nuance would further deepen its emotional impact and drive home its messaging. It is slightly exhausting to have such unrelenting tracks in rapid succession.

However, tapping into all the trademark elements is what made a fantastic punk album; The Hives hit it out of the park with “The Hives Forever Forever The Hives.” Fittingly donned in kingly robes and crowns on the cover art, they assume their throne in the pantheon of garage rock with this release.