This chapter explores how Neue Sachlichkeit became a dominant paradigm in Swedish church music between the 1920s and 1960s. Unlike the secular contexts typically associated with this aesthetic, Swedish theologians, musicians and musicologists interpreted objectivity as a theological imperative rooted in Lutheran tradition. Through key figures such as Gustaf Aulén and Carl Allan Moberg, church music was redefined around ideals of liturgical functionality, stylistic austerity and communal participation. Drawing on historical models like Gregorian chant and polyphony, this movement forged a distinctive “church style” that aligned with broader cultural and political aspirations. The chapter argues that Swedish nysaklighet shaped a uniquely cohesive and long-lasting synthesis of musical, theological and institutional renewal.