GAUPA’s FYR: Where Doom Rock Meets Swedish Psychedelia

 

 

 

 

 

 

 

 

 

Since releasing their self-titled EP in 2018, GAUPA has continuously broken new ground within the Swedish psych rock and stoner rock communities. Their unique blend of doom metal and groove rock has earned them significant recognition, with their track ‘Exoskeleton’ surpassing one million Spotify streams and their EP accumulating over 4 million streams to date. Following the release of their 2022 album “Myriad,” the band delivered unforgettable performances at major festivals including Sweden Rock, Hellfest, Wacken, Mystic, and Desert Fest. Set for release on July 4th via Nuclear Blast Records, FYR promises to take listeners on a genre-bending journey through enthralling psychedelia and heavy prog metal.

The Band’s Evolution Leading to FYR

From Underground Sensation to Genre-Bending Force

GAUPA’s musical journey has been anything but conventional. The Uppsala-based quintet first emerged on the Swedish underground scene with their self-titled debut EP in 2018, immediately capturing attention with their distinctive sound. This initial release showcased the band’s knack for blending heavy riffs with ethereal vocals, establishing a foundation for their evolving musical identity.

After their impressive debut, the band continued refining their unique approach to doom the rock genre. Their sophomore release, 2020’s “Feberdröm,” marked a significant step forward in their sonic exploration. During this period, GAUPA began incorporating more experimental elements into their music, further distinguishing themselves from contemporaries in the Swedish psych rock scene.

The release of “Myriad” in 2022 represented a watershed moment for the band. This full-length album demonstrated remarkable growth in both songwriting and production quality. Throughout this evolutionary phase, vocalist Emma Näslund’s haunting, versatile voice became increasingly central to GAUPA’s sonic signature – weaving between delicate whispers and powerful wails over the band’s groove rock foundation.

Recent months have brought significant changes to GAUPA’s lineup. The departure of guitarist Erik Sävström created both challenges and opportunities for the remaining members. Rather than viewing this shift as a setback, the band channeled the transition into creative energy for their upcoming EP. This period of adjustment allowed them to reassess their sound and push into even more adventurous territory.

“FYR” emerges as the culmination of this creative evolution. The four-track EP represents both a continuation of GAUPA’s established sound and a bold step into new realms of doom metal experimentation. Interestingly, the band opted for a shorter format following their full-length release, allowing them to create a more concentrated and focused artistic statement.

Over time, GAUPA has masterfully balanced accessibility with avant-garde sensibilities. While maintaining the core elements that first attracted their fanbase, they’ve consistently pushed against genre boundaries. This willingness to evolve while honoring their roots has positioned them as one of the most intriguing bands in modern stoner rock.

Inside FYR: Sound, Style, and Production

A Heavier Sonic Landscape Emerges

Taking a dramatic sonic shift, GAUPA’s “FYR” stands as their heaviest material to date. This transformation didn’t happen by accident — the band enlisted new mixing engineer Karl Daniel Lidén, who gave the tracks a significantly grittier, more aggressive sound compared to their previous releases. Gone is the slick, bright production of earlier works, replaced by a rawer, dirtier sonic palette that intensifies their doom the rock foundations.

Despite downsizing to a four-piece following guitarist Daniel Nygren’s 2024 departure to focus on family life, the band sounds anything but diminished on this mini-album. Recorded in autumn 2024 across two locations — Svenska Grammofonstudion in Göteborg and Estethuset studios in Falun — the EP retains GAUPA’s core elements while pushing into new territory.

The swedish psych rock outfit describes “FYR” as a “patchwork of parts” where each member contributes equally. This collaborative approach yields impressive results across the four tracks. Opening with “Lion’s Thorn” (7:37), the album immediately establishes its credentials with mesmerizing bagpipes that introduce spacious, tripped-out verses before waves of hard stoner rock riffs crash through. “Heavy Lord” (3:58) delivers one of 2025’s most hypnotic choruses, while “Ten Of Twelve” (4:21) dazzles with astounding guitar work and weighty percussion.

Perhaps most impressive is closer “Elastic Sleep” (8:10), a genre-flipping masterpiece where enthralling psychedelia swells into crests of ripping djent metal and cosmic doom. Throughout these tracks, the band maintains their signature elements: enchanting intricacy, trippy verses, and a steady stream of groove rock sensibility.

The title itself carries multiple meanings in Swedish — “four” (this being their fourth release), “lighthouse,” “beacon,” and “fire” — all fitting the musical and lyrical content in various ways. This multi-layered approach extends to the sound itself, where doom metal heaviness coexists alongside surreal lyricism and atmospheric passages, creating a seamless blend that feels both cohesive and exploratory.

Themes and Surrealism in the Lyrics

Dreamscapes and Reality Blur in GAUPA’s Poetic Universe

At the heart of GAUPA’s entrancing doom metal soundscape lies vocalist Emma Näslund’s playfully perplexing and surreal lyricism. Throughout “FYR,” the band loosely explores the concept of time alongside the fundamental question of “what is real, what is not, and what is a dream”. This philosophical approach perfectly complements the swedish psych rock instrumentals that define their sonic identity.

Inspired largely by Ursula K. Le Guin’s award-winning science fiction novel “The Word for World Is Forest,” the EP draws from themes of anti-colonialism and environmentalism. Näslund’s lyrics often contemplate mankind’s destructive relationship with the environment, yet she maintains an intentionally abstract approach to her writing.

“I want people to use their fantasy and imagination,” Näslund explains about her cryptic writing style. “You need to go through the lyrics, and you need to think, what does it mean to you?”. This deliberate ambiguity invites listeners to discover personal meaning behind her dreamlike poetry instead of being handed explicit interpretations.

The band’s fascination with animal imagery continues throughout “FYR,” most notably in “Ten Of Twelve,” which references the rooster’s position as the 10th animal in the Chinese zodiac. Näslund playfully subverts folklore by transforming the traditionally lucky rooster into “a bad luck rooster instead of a lucky charm”.

GAUPA’s enthralling psychedelia extends beyond musical elements into their lyrical approach. Näslund’s writing process varies considerably – sometimes lines spontaneously emerge, while others require careful crafting. She draws inspiration from diverse literary sources including sci-fi, dystopian fiction, magic realism, and poetry.

The surreal quality of groove rock is enhanced by lyrics that maintain a certain mystique. “I don’t enjoy lyrics when it’s obvious,” Näslund notes. “The lyrics that speak to me the most are lyrics that I can choose to think are for me”. This approach creates a stoner rock experience where listeners can find themselves within the music’s intentionally nebulous narrative landscape.

Conclusion

FYR: A Defining Chapter in GAUPA’s Sonic Evolution

GAUPA stands poised to deliver something truly special with “FYR” on July 4th via Nuclear Blast Records. Throughout their journey from underground sensation to recognized force within the doom rock scene, this Swedish outfit has consistently defied genre expectations. Certainly, the departure of their guitarist could have derailed lesser bands, yet GAUPA has transformed this challenge into creative fuel for their heaviest material to date.

What makes “FYR” particularly compelling lies in its perfect balance between accessibility and artistic exploration. The four tracks showcase a band comfortable with their identity while still pushing boundaries – heavier production alongside dreamlike verses, surreal lyrics paired with crushing riffs. Furthermore, Emma Näslund’s enigmatic vocal approach adds another layer of mystery, allowing us as listeners to find our own meaning within their musical universe.

The multi-layered meaning behind the EP’s title – representing both their fourth release and concepts of fire, light, and guidance – perfectly encapsulates GAUPA’s artistic approach. Similarly, their willingness to blend Swedish psych rock elements with heavier doom metal textures creates something genuinely fresh in today’s music landscape.

Despite functioning as a four-piece now, GAUPA sounds more potent than ever before. The collaborative spirit evident throughout “FYR” demonstrates a band hitting their creative stride rather than struggling with transition. Subsequently, tracks like “Elastic Sleep” and “Lion’s Thorn” reveal a group unafraid to experiment while maintaining the core elements that first attracted their growing fanbase.

For fans of enthralling psychedelia, groove rock, or innovative metal, “FYR” promises to be an essential listening experience of 2025. Though only four tracks long, this mini-album appears ready to cement GAUPA’s place as one of the most intriguing bands emerging from Sweden’s fertile rock scene today.

Zoltar – Bury

Zoltar is a down to earth stoner metal trio from three cities in Sweden: Gothenburg, Uppsala and Östersund. Starting out as a local riff-o-rama-project in East coastal city of Uppsala just before the start of the COVID pandemic, soon the project turned into something too good to disappear into nothingness, the two founding members called for sibling backup and Kara Kusack joined to complete the lineup.

Shortly after completing the trio lineup, the two first tracks were produced, the vocals recorded and sent from the West coast of Sweden, all the composing and communication done via file transfer and digital means. In under two months the bands first two tracks were released independently; presenting fuzz grinding guitars partnered with fierce female vocals and anthemic choruses.

Striving for a genuine, distorted rock sound with a fresh context, the trio brings in elements from Black Sabbath and Kyuss as well as more sludge metal acts like Melvins and Red Fang with some overtones of early 90’s Olympia, Washington grunge. Zoltar brings you a punchy and powerful vibe to get your juices going. With influences rooted in punk, death, and rock ‘n roll Zoltar’s brand of dark stoner influenced jams have a pragmatic and powerful sound with loads of energy. The songs with synth bring a space rock element and along with Kara Kusack’s vocal range and different stylings there is a lot to like with the jams.

Th most recent track released August 18th, “Bury”, according to bassist and vocalist Kara Kusack was inspired by and a tribute to former Entombed singer (R.I.P) Lars-Göran Petrov. With a distorted phaser guitar line and a gravely growling vocal and a heavy anvil powered drum groove you can’t help but feel ready to rock. About three minutes in there is a synth solo before going back to the verse and makes for a really interesting transition.

There are some recent tracks available to listen to here and more music is on the way in the near future. Check out an interview with Kara Kusack for more band info and stay tuned!

Lineup:
Kara Kusack, Vocals, Bass, Synth
Crille Lampa, Guitar
Patrik, Drums

UFO over Lappland Interview

DRU: Who decided on the band name and how did it come about?

UOL: Our bass player came up with the idea, it’s a reference to a small Swedish sci-fi movie from 1959, also refers to a record by a local psychedelic rock band that made a record called “Flying saucers over Lappland” Our new record “Spökraketer” also refers to unknown objects that have been seen over the very huge areas up in Lappland, where there’s almost no people, just huge areas of forests and mountains.

DRU: Who are your biggest influences?

UOL: I think we in the band have different influences and it also changes all the time, but stuff that we all like is for example Neu, Faust, Hawkwind and I also listen a lot to more “modern” post rock and minimal electronic drone/ambient stuff.

DRU: Any specific guitar player, bass player or drummer influences?

UOL: Christer, our bass player has always been a fan of Lemmy, Andreas (the drummer) likes Tool, I don’t think I can choose a guitarist, but I prefer those with a personal style and that can make weird sounds with guitars before perfectly playing.

DRU: What role does synth play in the band? Is it for textural elements to compliment the sound or more in front to complement the guitar lines?

UOL: It’s to complete the sound and also to add the extra “space feeling”.

DRU: How would you describe your sound? Do you hear any similarities to Kraftwerk as is often mentioned?

UOL: I say that we play repetitive minimal psychedelic rock with influences from post-rock. I don’t see much similarities to Kraftwerk (has also seen that mention, we never mentioned them as inspiration, they are great, but not an influence, I guess it has to do with that Kraftwerk was a part of the early German kraut-rock scene).

DRU: How did the band form and come together?

UOL: Three of us was already playing together in a band called the magic lantern, some of us have been making music together in different constellations for more than twenty years now.

DRU: What’s your songwriting process?

UOL: Most of the times we just go down to the rehearsal space and jam, we record and listen and choose parts we like and then we work on those parts, add stuff or remove stuff, sometimes someone has a riff or a rhythm to start with but not always.

DRU: Best format? Vinyl records, cassettes, CDs or downloads? (Regardless of current popularity)

UOL: Vinyl, three of us are vinyl collectors, I also run a small tape label, so I like tapes too, but vinyl is like “the real thing”.

DRU: One or two artists/bands you would like to collaborate with.

UOL: If we could do something like that, I think it would be fun to make something with someone that does something completely different from what we do, like Joanna Newsome on harp or with Loscil (minimal electronics).

DRU: How has the natural environment in Northern Sweden influenced your sound if at all?

UOL: Hard to say, but I think out long dark winters sets us in another mood than if you’re living, we’re the sun is shining all of the year.

DRU: Any plans for an upcoming European tour?

UOL: No plans for touring right now.

DRU: Describe the Umea music scene, is it influenced by the local college and artists?

UOL: The musical scene in Umeå is diverse and living, the DIY scene is quite big and bands in different genres help each other to organize shows, but during the pandemic some places have been closed and some people have moved, but still have hope for the future and so many people here know that a living musical scene is something worth fighting for.

DRU: Is the recording process completed by sending files to each other or is everyone in the studio?

UOL: We were all together in the studio, most of the records are recorded live in the studio, with just some overdubs.

DRU: How has the band changed or not coming out of COVID now that most countries are open to live music again?

UOL: One of us have moved to another town quite far away and that makes it harder both to rehearse and to play live, but let’s just see what the future has to give.

DRU: Any social channels or band sites fans should check out for release, merchandise or tour information?

UOL: Where not too active here, but I try to update at Instagram @ufooverlappland and Facebook.com/ufooverlappland

Peace/Krister, guitars in UFO över Lappland.

UFO over Lappland – Spokraketer

Released in April of this year on Burnt Toast Vinyl, Spokraketer is the second release from Swedish instrumental psychedelic post-rockers UFO Over Lappland. The title Spokraketer refers to UFO’s seen flying over northern Sweden in the 1940’s. With only four tracks and coming in at around 38 minutes be prepared for some serious extended jams. The first track I’m Rolling Like Thunder, I’m Something You Don’t Understand has a hypnotic guitar line, reverb heavy synth, and extended Wah-wah soloing about 6 minutes in and a distortion heavy outro. The 2nd track Seventh Son of Orion has slow-burn delay heavy guitar line with synth effects in the background building to a crescendo at five minutes in until the end.

The third track Bla Vagen is a standout with its melodic guitar lines and waves of synth coming in and out like actual ocean waves. Turn this up, lock into the groove and look at the stars to see if you can spot the UFOs. There is some really dynamic musicianship and while there is definitely a post-rock vibe there is a subtle surf rock element as well. Some reviews have thrown in a progressive label, but this is firmly in the space/psych/post-surf realm.

Lineup
Krister Mörtsell – Guitar

Christer Blomquist – Bass

Andreas Rejdvik – Drums

Peter Basun – Synth

Track Listing
Side A
1.  I’m Rolling Like Thunder, I’m Something You Don’t Understand (8:46)
2. Seventh Sun Of Orion (10:21)

Side B
1. Bla Vagen (8:13)
2. Fire of ‘94 (9:55)

Rating 7.9