With the illusion of time as catalyst Falun, Sweden-based heavy rock/stoner metal quartet GAUPA presents their own cross-eyed reasoning through derealization on this latest EP. A fairly normative, buttoned up vision of the surreal carries the listener through a high gloss, modern standard for bumping alternative rock hook-laden stoner metal sounds as ‘Fyr‘ suggests where these folks will head as a four piece. The experience is compellingly lush, performed impeccably and highly engaged though it may only hit skin deep for those seeking the suggested prog-stoner spectrum they’ve inhabited in the past.

Gaupa formed around 2017 between folks associated with throwback stoner rock group Mother of God and others likewise involved in extreme metal bands over the years before and since. In their earliest interviews around the time of their first EP (‘Gaupa‘, 2018) the band described their sound as something like “progressive stoner rock with doom metal influences” and I feel like some indication of the retro-modern Scandinavian scenery for that sort of thing is key qualifier. None of this exploration of sub-genre necessarily relates to one era but there is weird soul within the band which is probably most obvious via the unfettered talents of vocalist Emma Näslund who was pretty instantly suggested as akin to Björk in both tone and at-times bluesy, breathy inflection with a knack for odd note choices and occasionally exasperated diction. Spend any amount of time with “Hjulet” or “Grycksbo Gånglåt” from their debut LP (‘Feberdröm, 2020) and you’ll understand why that comparison made sense back then and still carries through several years later.

By the time we’d run headlong into 2022 Gaupa were suddenly signed to Nuclear Blast and soon presented an eclectic sophomore album (‘Myriad‘, 2022) which found the band a bit heavier and livelier on their second pass. At the time I’d given the album brief thoughts suggesting: “I’ve long been a sucker for a solid bluesy psychedelic rock band with an inventive vocalist and these folks fit the bill overall. ‘Myriad‘ is a little bit uneven as a full listen and the energy droops hard as it ends but overall it’ll serve as a fine place to start with their gig.” and between the telecaster-level twang of the rhythm guitars, surreal yet thoughtfully placed lyrics and odd soar-and-swoon of the vocals it was a good time. Beyond that point the quintet became a quartet and with the exit of a founding guitarist their collaborative pool shrank and with ‘Fyr‘ they make the argument whether it’d been for better or worse.

‘Fyr‘ is a trip and not so much in the way that ‘Myriad‘ was anxiously, even joyously odd but rather that their sungazing psychedelic metal side bubbles up hotter within a couple of these songs. Opener “Lion’s Thorn” takes us back to the stoney kinda mid-70’s by way of the early 90’s theatre of ‘Gaupa‘, a fuzzy stage-level rock song with heady tension circling those bigger alt-metal feeling riffs as they leave their dent in the moment. The build and collapse of this song is most of its actionable brain activity yet the simple hard rock rhythm most squarely cut by the end is a comfortable non-statement beyond all that surrounds it. Most of this EP matches this sentiment, the journey is more interesting than the destination and frankly even when at their weirdest Gaupa is yet an “accessible” heavy rock band in sound and songcraft. You’ll have a much clearer idea of what I mean once you’ve rolled through key singles “Heavy Lord” and “Ten of Twelve“, both of which aren’t so far-removed from what anyone’d expect in following ‘Myriad‘ but are now more efficiently attuned to an immediate hook.

In terms of approaching this “progressive stoner music” idea the main riff developed within “Ten of Twelve” isn’t necessarily delivered ah via ‘Lateralus‘ but it does punch a little bit of technique which feels just out of left field enough. Otherwise they take that twanging guitar tone to somewhat more distant extremes on “Elastic Sleep”, at least compared to any of the three songs prior. The pooling of psychedelic rock wobble which manifests beyond a few snappy grooves on that final song is less inherently progressive as it is expressive, particularly as a vessel for Näslund‘s voice which serves an unpredictable narrator throughout the ~8 minute closer. They won’t escape the polished veneer of an otherwise simple, easygoing stoner metal record entirely within that final song but I appreciate that they’re willing to space that far out.

From my point of view it remains to be seen whether Gaupa will define themselves further via unique treatment of sub-genre trope(s) or through popular rock songwriting as ‘Fyr‘ reads like a heavy rock band sure of its tightly writ, straightforward songcraft but unsure of its perspective beyond an altered state. Their work isn’t necessarily avant-garde or even abstracted so much as tunefully indirect and this leaves me in a state of mild awe at the spectacle created, fully in appreciation of the unique cadence the vocalist has mapped out within their greater jam yet unable to recall what’d drawn me to their realm in the first place. That said this record is presented in brilliantly hi-fi render, via the same fellow who’d done Dozer‘s last record, and there is some profound immersive value gained by the sheer clarity of this record in highlight of their performances. Gaupa‘ve set a high standard for future releases with this EP but at this point I’d like to hear them cut loose on a future full-length, leave some of the grime of their process in their work. A moderately high recommendation.

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