Lola Hammerich (vocals/guitar), Andrea Thuesen (vocals/guitar) and Benedicte Pierleoni (drums) are a trio not to be messed with. Making rumbling rock and grimy grunge that’s as malevolent as a midnight knife fight, their sound is equal parts Kyuss and Sleater-Kinney, with a dash of Babes In Toyland for extra punch. Baby In Vain are not your typical Scandinavian indie band. Drawing on the gang-mentality and bluesy swagger of Black Rebel Motorcycle Club and Queens Of The Stone Age, they’ve been together six years, but are still quite young. Their early material saw them producing their own twist on stoner-rock, but over the past five years they’ve branched out into much broader territory, pulling in the industrial menace of post-punk alongside fuzzy expeditions into the fringes of doom and garage punk. Baby In Vain put out a handful of singles in 2013 as well as touring heavily, but wisely decided to scale things back, instead of blindly jumping into the murky waters of the music industry. It’s a period of time that the band acknowledges on their For The Kids EP, in the sludge-ridden ‘Worthwhile’. “It was very overwhelming being ‘up and coming’ and hyped,” explains Andrea. “People wanted all these things from us, and there was a lot of expectation. I felt this pressure, going from being a rehearsal room band to being a completely different thing." Baby In Vain’s addictive, aggressive sound has received plaudits by everyone from Thurston Moore (“It’s always good to see new, young energy on the stage investigating all the heavy, new rock action that is out there.” he gushed) to Alison Mosshart of The Kills, who handpicked the band to join them tour not once, but twice. “We were the chosen ones,” smiles Benedicte of their US jaunts with the grind-rock icons.