After an 11-year gap, The Hives are back, and it’s like they never left. Their new album, The Death of Randy Fitzsimmons, is a sonic fistfight that barrels straight past your brain and lands squarely in your adrenal glands. The Swedes have never been a band for half-measures, and this record—packed with distortion, chaos, and a bit of the macabre—is proof they’ve still got that magic formula for unapologetic rock and roll.
Sitting down with The Hives is as unpredictable as their sound. They’re charmingly self-aware, delightfully irreverent, and, most importantly, confident in their mission to remind the world why we fell in love with loud guitars in the first place.
When asked about the long stretch between albums, they’re quick to admit the frustration. "We wanted to make a new record the entire time," they say. "But for millions of reasons, it just wasn’t possible. It’s funny, though—when we were younger, 13 years between records seemed insane. Now, we’re Axl Rose adjacent." Luckily, The Death of Randy Fitzsimmons is no Chinese Democracy.
Crafting the album wasn’t without its challenges. Producer Patrick Berger’s studio was awash in demos, with the band trying to decide which tracks deserved finishing. "We’ve never had that much extra before," they confess. "In the past, what was on the album was all we finished. This time, we had to figure out what fit together, what complemented each other. It’s not just about picking the best songs; it’s about making a record that feels like a journey."
That journey starts with "Bogus Operandi," an opener that sets the tone with a distorted explosion of feedback before launching into the blistering "Trapdoor Solution." The sequencing, they say, was deliberate. "We’ve learned that even songs that feel left-field can work if the order is right. You put them together, and suddenly, it all makes sense."
There’s a mischievous undercurrent to the record, with lyrics that embrace the absurd while still feeling oddly relatable. The bombastic simplicity of “The Bomb” came after years of painstaking revisions. "It sounds like something someone just came up with, but it took us forever to get it right. It doesn’t sound like we’re spending our time wisely, but trust us, we were," they laugh.
For a band known for their legendary live shows, the return to touring has been triumphant. Sellout crowds have cemented their reputation as one of the best live acts in the world, but they brush off the praise with their signature humility—or lack thereof. "Nobody’s doing what we’re doing," they deadpan. "And that might be for the best. It’s not easy to pull off, but we’ve spent years honing it. It’s not for everybody, but in our niche, we’re it."
The Hives also make it clear that they aren’t interested in rock and roll maturity. "Who wants mature rock and roll? That’s not what we do," they say. "There’s enough of that already. What’s missing is that teenage idiot energy, and we’re here to bring it. You’ve got to keep that part of yourself alive."
So, what’s the secret to surviving 30 years in a genre that often chews up bands and spits them out? For The Hives, the answer is simple: don’t overthink it. "Time in the game doesn’t make you better. You’ve got to keep trying, stay sharp, and stay excited. Being a good band is the reward, not the years you’ve stuck it out."
With The Death of Randy Fitzsimmons, The Hives haven’t just made a comeback; they’ve made a statement. It’s loud, brash, and exactly what rock and roll needs right now. "This isn’t an anniversary record," they emphasize. "It’s not about celebrating the past. It’s about right now."
And right now, The Hives are as thrilling as ever.
Watch the interview above and then check out the video below.
