BABY IN VAIN (DK) til RiP!
Vi så Baby In Vain live på Internasjonalen under Sørveiv sitt off-by:larm arrangement for noen år siden, samme kveld som vi så Hold Fast for første gang. Og Baby In Vain leverte allerede da et vanvittig energisk og tungt livesett, selv om det eneste de hadde å vise til var 3 stk 7" i merchboden.
I august 2017 kom endelig debutskiva "More Nothing", og for en perle det er! Plata har fått ekstremt positiv mottagelse i både dansk og internasjonal presse, blant annet 6 hjerter i Politiken, 6 stjerner i Gaffa, og en ytterst positiv medfart i Berlingske Tidene, som fikk overskriften "Hypet dansk rocktrio genopliver grungen”. Singlen "Low Life" er i heftig rotasjon på P6 Beat i Danmark.
Baby In Vain avsluttet nylig en lengre Europaturne med A Place To Bury Strangers, i tillegg til en egen UK-turne som headliner. Samtidig med plateslippet i august spilte de på anerkjente Leeds/Reading Festival i UK, og Roskilde-festivalen slapp i november at de også kommer dit i 2018.
Vi velger å gjengi hele det lange presseskrivet under, det er definitivt verdt tiden det tar å lese det.
Lørdag 3/2 2018. Billetter 200kr inkl avg kommer i salg på Hoopla. 18 år leg plikt.
BABY IN VAIN (DK)
Emerging from Copenhagen in a squall of killer riffs and ferocious punk energy, Danish three-piece Baby In Vain are set to release one of 2017’s most exciting guitar albums. They are singer-songwriter-guitarists Lola Hammerich and Andrea Thuesen Joahansen and drummer Benedicte Pierleoni.
The heaviness of the music they make together is underscored by the dark wit of their lyrics. The band say their songs simply reflect raw human emotions. “Sometimes life is dark, I think most people can agree on that,” says Andrea. “Often we write about the things in our lives that are somewhat painful, weird or incomprehensible.”
All three are still in their early 20s, but if their debut record sounds like the work of seasoned pros that’s because it is. They started early. Lola and Benedicte first jammed together when they were 12 and 14 respectively, on an after-school music programme. They soon kicked out all the other members of their band. In 2010 they met Andrea at a mutual friend’s show. She asked: “Don’t you want a third member?”, and added that she’d already thought of the perfect band name: “Baby In Vain.” Andrea had been inspired by the Soulsavers’ song ‘Unbalanced Pieces’, when Mark Lanegan sings: “Mother, mother, in vain.” “I just thought it sounded so goddamn cool,” she says.
Back then, Lola was already writing heavy, stoner rock influenced by her favourite group, Kyuss. Before long, Andrea introduced her to a galvanising swathe of new bands including Soulsavers but also Sonic Youth, Black Rebel Motorcycle Club and The Jesus and Mary Chain. “I think we just combined everything we liked and made up a genre of our own,” says Andrea. “That’s what made sense to us.”
The band’s distinctive sound would inevitably be shaped by their early decision to do without a bassist. “Lola and Andrea both wanted to shred their guitars,” laughs Benedicte. “Neither of them wanted to play the bass.” As their sound has evolved they’ve grown out of the need to compensate for their unusual line-up. “When we first started we were aware of not having a bass,” explains Lola. “Now we don’t really think about it. Our sound is already pretty heavy as it is.”
It’s a sound they’ve honed in countless frenetic live shows. They were hand-picked by The Kills’ Alison Mosshart to join her band on two tours in America and one in Europe, and were praised by Thurston Moore while supporting Chelsea Light Moving. Having built such a fearsome live reputation, their next challenge was to capture their sound in the studio. “Sometimes I think we kind of did it backwards,” observes Andrea. “We were a live band first and we had to learn how to play our songs in the studio in order to record them.”
To do that, the band decamped from Copenhagen to the suburban town of Bredbury, near Stockport in Greater Manchester. There they took up residence in Eve Studios along with longtime PJ Harvey collaborator and producer Rob Ellis. The band found him to be a wise and encouraging influence on their style. “He’d say things like ‘John Peel would like this song’ or ‘Kurt Cobain would have sung it like that’,” remembers Lola. “He made us feel confident and helped us perform the best we could. It felt like we had something to live up to.” “Rob turned out to be one of the best things that ever happened to this band,” adds Andrea. “He treated us like peers, and respected us as musicians and human beings.”
After six years playing, writing and touring together, Baby In Vain’s debut record came together in just 11 days. “We felt isolated, and that helped,” says Andrea. “You have this feeling that nobody really understands what you’re doing right now except for the people that you’re doing it with.”
The album is full of incendiary heavy rock songs packed with riffs, as on breakneck, opening track ‘To Heaven And Back’, which sounds like Queens of the Stone Age moshing with The Distillers. As Lola recalls: “We recorded it upon waking up to the news that Donald Trump would become the President of the United States, which led to the working title: ‘Fuck Trump Yeah’. We channeled our aggression and frustration into it.”
Lead single ‘Transcendent’ is a Sonic Youth-influenced wall of detuned guitars that sounds like My Bloody Valentine at their mightiest. It’s a tune that the band believe “captures the essence of who we are.” For Andrea, the song became an extension of her innermost feelings: “I was very anxious the whole time we were recoding this,” she says, “So it seemed appropriate and relevant to write about anxiety. The song is about how it consumes you and leaves no room for rational thinking or any other emotions.”
While anyone who’s been lucky enough to catch Baby In Vain live will attest to their ability to rock out, tracks like the hypnotic ‘Lowlife’ prove they can slow things down as well. The lyrics recount Andrea’s observations of a deeply unhealthy relationship a close friend found themselves in. “It’s about someone who was close to me, and the person he was in a relationship with turned out to be mentally ill,” she says. “It had a great impact on my life, and I had a really hard time making sense of it all, so writing about it felt like the obvious thing to do.”
While anger and frustration hovers like a storm cloud over much of the album, there are moments of respite too. Closing track ‘I Have Your Eyes’ is a love song Andrea composed for her boyfriend, although its origins weren’t exactly in a romantic idyll. “I was sitting in my kitchen jamming by myself,” she remembers. “I started playing and singing while my boyfriend was sitting in the other room watching a football game. Suddenly he was like: ‘Shut up! I’m trying to watch the game!’ The recording I have on my phone is me going: ‘Dude, I’m writing a love song for you! It’s about how much I love you and the only thing you have to say is: ‘Shut up I’m watching Arsenal!’”
All the way through ‘More Nothing’ a battle between darkness and light plays out. It is as if whenever storm clouds are gathering, whenever the weight of the world feels too much, Baby In Vain are there to cast off gloom and despair with the sheer power of their riffs. “When they hear the album, I want people to feel that they are being punched in their gut by rock music,” says Benedicte. “I want to make their days better. I want it to be life-changing for young people.”
Listening to ‘More Nothing’, it’s clear they’ve succeeded. From the raw materials of the painful, weird and incomprehensible, Baby In Vain have made a heavyweight gut-punch of a record. It will definitely make your days better. It might just change your life.
Lørdag 3. februar 2018.
18 år leg plikt.
Billetter 200kr inkl avgift er i salg på Hoopla.
Dørene åpner kl 21.00
Baby In Vain kl 23.00