The Hives, “The Death of Randy Fitzsimmons.”

Swedish garage rockers The Hive return to the proverbial garage, 11 years after the band’s last album Lex Hives.

The Death of Randy Fitzsimmons is a triumphant return to the high-energy, noisy sound that elevated the band to success in the early aughts. The title is a reference to the fictitious discoverer and nurturer—and sometime-songwriter—of the band. It has long been assumed to be a pseudonym for guitarist Niklas Almqvist (aka Nicholaus Arson) or others in the band.

The Hives tapped producer Patrik Berger, who’s overseen hits by everyone from Robyn and Icona Pop to Charli XCX and Carly Rae Jepsen. On top of that, the Swedes recorded at the studio of ABBA’s Benny Andersson. Yet none of those competing influences get in the way of what the band does best.

From opening track “Bogus Operandi,” the mission is pretty clear: big, bold and over-the top riff-centric rock and roll. Howlin’ Pelle Almqvist sounds razor-sharp with his call-and-response vocals. The guitars sound both lo-fi and fuzzy, yet stacked together they still make a powerful wall of sound. The majority of the dozen tracks are short punky spark plugs, most clocking in around one and two minutes.

“Trapdoor Solution” is the poster child for that punk-influenced New York sound. At just over minute, it’s urgent and aggressive. The band has said in interviews that it didn’t want its return to have a refined maturity, instead tapping into the youthful defiant energy that guides rock and roll.

The bouncy “Countdown to Shutdown” is slightly more contemporary, bringing a bass-heavy groove and an infectious melody. The band explodes when Pelle Almqvist literally counts down, bringing the track to a fiery close. The Hives excel at achieving a sonically diverse sound while keeping the record cohesive and complete. It’s difficult not to get lost in the stomps and handclaps of “Rigor Mortis Radio,” a more subdued rocker with a keen sense of groove.

“Stick Up” is the first track that veers into an experimental territory with echoing reverb that gives it a live feel and a 1940s jazz melody. But most of The Death of Randy Fitzsimmons feels meant to be played in a tiny rock club, with fans packed shoulder to shoulder and drenched in sweat. The Hives no doubt love those nights, but they’ve also sought to be a contender for world’s biggest band before, at least semi-sarcastically. “Smoke  Mirrors”s manages to succeed in a middle ground between glam rock and the snarky snarl of punk.

The album’s other songs are a fun romp, “Crash Into the Weekend” splits the difference between rockabilly and punk with a no-frills energy that keeps the song driving. “Two Kinds of Trouble” drops the lo-fi production for something more modern, a choppy guitar riff intro paving the way for a simply irresistible fusion of vintage energy with a modern rock production.

“The Way the Story Goes” and the punchy closer “Step Out of the Way” bring things right back around to the band’s ’00s sound. Party anthem “The Bomb” is gloriously over the top, a bombastic fist-in-the air anthem about staying out too late. The spacey “What Did I Ever Do To You?” could be the most distant departure, brought to life by guitarist Niklas Almqvist. He brings down the distortion in favor of some bluesy licks over the beat by Christian Grahn (Chris Dangerous).

The Death of Randy Fitzsimmons never feels like a rehashing of the band’s past music. It’s more of a reimagining to fit in a modern musical landscape.

Follow writer Mike DeWald at Twitter.com/mike_dewald.