With their 2024 debut “Asleep or Insane,” Sweden’s Bakelit quickly established themselves as one of the most intriguing new forces in Progressive Rock, driven by the compositional vision of Carl Westholm and a sound that blends Art Rock, Electronic textures, and dark atmospheres. Now, the band is ready to return with “No Fear of Drowning,” due out on September 26, 2025 — an album that promises to dive even deeper into the emotional and sonic depths of their musical universe.
Let’s start from the beginning: how did the idea of forming Bakelit come about, and what inspired you to launch this project back in 2023?
I have always written music, by myself or with others, alone or in a band, and I’ve had a couple of years when I couldn’t really find a forum for my music. I had also started to do music in a slightly different way, not automatically to fit a rock band, some instrumental and some not, and some with a lot of machinery, drum machines, arpeggios etc. I had a lot of songs as sketches that I didn’t know what to do with. During the summer of 2023, I went on a long ride on my motorcycle across Sweden and thought about these songs, and came to the conclusion that I needed to record some of them, the ones most suitable for a band. Perhaps as an experiment, as I didn’t know how it would turn out. I contacted some good and reliable friends and soon enough the first album “Asleep or Insane” was recorded, and we are all very happy with the result. And as it turned out I had more songs…
Which past experiences and collaborations have had the strongest influence on the way you write together?
I’ve had many roles, sole composer, composing with another person or in a band, or just being the keyboard player, playing songs by others. There is no right or wrong as long as you keep your role in mind. I have learned something from every collaboration over the years, both what is good and what is not.
How would you describe your style to someone who has never heard your music before, and what are the key elements that make it distinctive?
OK… Even if I did not have the intention to write progressive rock, I understand that it’ll be perceived as progressive rock, but I hope one might notice the weight I’ve put on the ambient, more electronic soundscape to widen the experience of listening to it. Deliberately there is no long complex solos or instrumental efforts but instead focus on the whole band, the songs, sound and ambience.
Your sound blends Progressive Rock with Electronic textures and Art Rock elements — where does this fusion come from, and which artists have inspired you along the way?
As I’ve mentioned before, I get uncomfortable with naming influences and inspirations, and in this case it is the same. With this project I’ve been inspired by playing some different instruments than I’m used to, like weird drum machines, old synths and I also play bass before I do the keys, which is new to me. Then bear in mind I am a really bad and unpredictable bass player, which also affects the final result. “No Fear of Drowning” was born from free-flowing sessions with “unpredictable electronic machinery.”
Could you walk us through what these creative sessions actually look like?
It doesn’t start with chords or a melody, instead I’ve used some nice electronic hardware, doing a lot of step programming, both percussion and notes, and purely by chance… suddenly there is music going on, in the speakers or perhaps inside my head, and then there is a song. I lose control and the initiative and that makes the occasion, and thereafter I grab the things I like and keep working with them. It’s actually like a jam session, but not with other musicians, only machines.
The album explores the darker aspects of the human psyche, framing them as sources of strength and determination. What led you toward this lyrical direction?
I’ve always liked lyrics with dramatic metaphors. It’s not that I like war, fear or occultism, but as metaphors to describe other processes it works nicely. During the Swedish winter I spend a lot of time commuting on trains, and the Swedish winter outside the window brings out a lot of darkness from within me. This is a way to make it constructive.
How has your songwriting evolved compared to “Asleep or Insane”?
Not particularly. Many of the songs were written already when that album was released, but I think – I hope – I’ve managed to write more coherent lyrics for this album.
This time, you worked with the same core line-up as on the debut, but with the addition of Jonas Källsbäck on drums. How did his presence shape the final result?
Both Lars Sköld and Jonas Källsbäck are old friends of mine and both very good drummers. It was mostly a logistical fact behind the change of drummer, but nevertheless they are quite different to eachother and of course it has affected the result. Jonas was not given much time to rehearse so I encouraged him to just be spontaneous, which he really was! And as a contrast to the background electronic percussion I really like the result.
Were there any special or unexpected moments during the recording sessions that you particularly remember?
Jonas sent me some unexpected drumming here and there, but the others also surprised me. Öivin (Tronstad, vocals) came up with some nice melodies, Ulf (Edelönn, guitar) and Cia (Backman, vocals) as well. Ulf did not at all follow my instructions, which I am happy about today.
Do you have any tour plans or live dates lined up to promote “No Fear of Drowning”?
No plans or dates set, but I really hope we can make that work!
Looking back, what has been the most memorable live performance for Bakelit so far, and why?
Sorry to say, there has been no live performances yet…
Finally, what’s your view on the current Progressive Rock scene, both in Sweden and internationally?
There is a wide mainstream-prog movement that I am not so interested in, as it seems like I heard it all before, more than once, but on the borderline between prog and other genres there are some interesting music evolving. Initially it was metal turning into progressive rock that was the pioneers, if you ask me, and still is. Múr, from Iceland as an example, but also non-metal acts like the instrumental Gösta Berlings Saga from Sweden, whose last album is really good and something that feels fresh.
Thank you for sharing insight into your journey and your new album. We wish “No Fear of Drowning” all the success it deserves and hope to see you on stage soon!
More info about new album here: https://bakelitband.se/