Though they’ve netted comparisons to everyone from Black Sabbath to Thin Lizzy, if there is an analog in the history of hard rock to the Swedish group Graveyard, it is probably Judas Priest. Both bands have roots in blues, both have a fondness for topping caramel-sweet melodies with gravel and tacks, and both know precisely how to ride the edge of bombast and camp without ever becoming the Darkness. On their fourth album, Graveyard root around even deeper in their record collections. In the kind of quote that becomes instantly regrettable, frontman Joakim Nilsson once said that he wanted the band to be a mix of Slayer and Howlin’ Wolf, but on Innocence & Decadence, they also find room for Motown, Dylan, and Queen. What makes the record work is the way they synthesize all of this into something that is swell-chested, triumphant, and surprisingly human, dosing each song with equal amounts of swagger and charm. In a genre that often prides itself on being forbidding, Innocence is a proudly welcoming metal record, throwing open its tattooed arms and carrying off even the darker material with a wink and a smile.