Graveyard: Innocence & Decadence

Four Swedes playing pure-bred blues with real individualism.

You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.

Graveyard’s music is a time machine. Throwing their songs towards the bygone eras of the 60 and 70s, the result is both authentic and feral.

Think The Jimi Hendrix Experience, lungs full of weed, going hell for leather at the yellowed corners of the 12-bar blues format. Having fluctuated between mellow, creamy blues, heavy Sabbath grooves and politicised grit on previous releases, Innocence & Decadence sees them balancing their discography’s diversity perfectly.

Joakim Nilsson’s blossoming vocal abilities, which are perfectly exhibited on the almost Muddy Waters-like howling-at-the-moon chorus of Far Too Close, spearheads an inspired collection of songs. Magnetic Shunk and Can’t Walk Out manipulate and contort the trad-blues template into a myriad different dimensions. They’re spellbindingly catchy and honey-sweet, sitting alongside the dark, venomous bile of Cause And Defect. As close to perfect as you’ll get this year.

Phil Weller

You can usually find this Prog scribe writing about the heavier side of the genre, chatting to bands for features and news pieces or introducing you to exciting new bands that deserve your attention. Elsewhere, Phil can be found on stage with progressive metallers Prognosis or behind a camera teaching filmmaking skills to young people.