The Vines Albums (4)
What The Critics Say
Melodia offers a short 'n' simple version of the Vines' freewheeling sound, interspersing the fuzz-guitar freakouts that launched the band in 2001 with the measured, melodic songs that help differentiate the Vines from other members of the garage rock revival. Like 2006's Vision Valley, it's also clouded by the specter of Craig Nicholls' mental disorder, which splintered the band's lineup in 2004 and threw its ability to tour into jeopardy. Confining himself to the studio should be good for Nicholls, but the songwriter focuses on brevity rather than craft, halting most of these songs around the two-minute mark without packing them full of dense, bubblegum-punk hooks. When the band barges its way through a song like "He's a Rocker," the result recalls the glory days of Highly Evolved, when Nicholls' tendency to go bonkers on-stage was mitigated by the punky promise of his tunes. Elsewhere, Melodia offers up a handful of winsome slower numbers -- most notably the lushly harmonized "Orange Amber" and "Kara Jayne," two charming examples of Nicholls' fascination with the Beatles -- but those fleeting highlights don't replace the swagger, the snot-nosed attitude, or the crazed noise that propelled the band to platinum status several years prior. On the sunny side, those willing to branch out may also find themselves enamored with "True as the Night," the album's requisite six-minute epic that, unlike the lengthy psychedelic pop opuses that conclude the Vines' previous albums, intentionally bisects Melodia's 14-song track list. Could it be a sign that the Vines wish to emphasize their diversions from the garage rock formula as much as the formula itself? Perhaps, but Melodia is too brief to yield any real answers. ~ Andrew Leahey, All Music Guide
What The Critics Say
After 2004's lackluster Winning Days and Craig Nicholls' subsequent breakdown, it certainly seemed like the Vines were never to be heard from again. Surprisingly, though, the band persevered: Nicholls was diagnosed with and treated for the neurobiological disorder Asperger's Syndrome, and guitarist Ryan Griffiths and drummer Hamish Rosser stuck by him (bassist Patrick Matthews left to play with Youth Group). The trio recorded Vision Valley in a few small studios around Sydney, and the album has the back-to-basics sound of a band getting back on its feet again. The Vines have consolidated their strengths, sticking to their formula of wound-up, grungy rock and pretty, psych-tinged ballads. Fortunately, they still do both well, as outbursts like "Anysound" and "Nothin's Comin'" keep it spare and simple, while the title track and "Take Me Back" show that Nicholls and company's softer, lusher songs have nearly as much impact as the harder ones. Especially on the first half of Vision Valley, everything is tight, focused, and shiny, particularly on the playful pop of "Candy Daze" and the insidiously catchy single "Don't Listen to the Radio," both of which offer a more bubblegummy take on their rock sound. If anything, Vision Valley almost feels too tightly constructed, lacking the messiness and loose ends that made the Vines sound like they had so much potential on Highly Evolved. However, "Gross Out" captures some of the freewheeling spirit they had on their debut, and when they stretch out on the lengthy, atmospheric rock of "Dope Train" and the floaty, Pink Floyd-esque album closer, "Spaceship," it feels like the Vines may still regain the momentum they had earlier in their career. Vision Valley might be a little predictable, but at least the Vines sound like they're back in control of their lives and music again. ~ Heather Phares, All Music Guide
What The Critics Say
Two years after their single "Get Free" seemed to be everywhere in one form or another, the Vines returned with Winning Days. A textbook case of the sophomore slump, the album lacks the hooks, melodies, and enthusiasm that made Highly Evolved a promising debut. On that album, it seemed that the Vines were up for anything, even if the overexposure of their singles and singer Craig Nicholls' bratty behavior soured opinions of the Vines, and Highly Evolved in retrospect. The album opens with "Ride" and "Animal Machine," two concessions to their successful but less interesting hybrid of grunge and garage rock. The rest of the album delves into the pop side that made the band seem a little deeper and more diverse than some of its rock revivalist contemporaries; this is still the side of the band that produces the most substantial music. "TV Pro" mixes the trippy and rocking aspects of the band's sounds fairly well, but its impact is thwarted by the syrupy production that coats most of Winning Days. Pretty, jangly ballads such as the title track and "Rainfall" also fall victim to glossiness and fussiness, yet manage to sound strangely unfinished at the same time. Most egregiously, "Autumn Shade II" comes across as a cover of Highly Evolved's "Autumn Shade" instead of its sequel. On the bright side, there's "She's Got Something to Say," it might be slight, but its '60s pop pastiche is still entertaining, and "Fuck the World," a live favorite that might as well be a Highly Evolved outtake, is brash and simplistic, and therefore one of the most immediate songs here. It's far more gripping than the expansive psychedelia of "Amnesia" or "Sun Child," which sounds a bit like a granola-fed Oasis ballad, neither of which make much of an impression. Winning Days is definitely a departure for the Vines. ~ Heather Phares, All Music Guide
What The Critics Say
They may be hyped by the British press as no less than the second coming of Nirvana, but on Highly Evolved the Vines offer something more interesting than yet another trawl through flannel-clad angst. True, the addictively short "Highly Evolved"'s primal beat and chunky guitars are certainly post-grunge, but not not in the boringly earnest, imitative way that bands such as Silverchair were -- the song's sludgy sexiness and tight structure also recall the '60s garage punk that shaped bands like Nirvana and Mudhoney. But instead of just capitalizing on that one (admittedly great) sound, on the rest of the album the Vines prove that their style is indeed a highly evolved hybrid of grungy, garage rock swagger, '60s psych, and '70s pop. "Sunshinin'" throws a Krautrock-tinged bassline into the mix for good measure, while the irresistible "Factory" sounds like Elton John and Supergrass collaborating on a response to "Ob-La-Di, Ob-La-Da." Likewise, their ballads mix their reverence for the past with their own youthful enthusiasm. With its tinkling pianos and sweet, close harmonies, "Homesick" is a fresh update on the AM radio sounds of Gilbert O' Sullivan; the gorgeous, guitar-driven "Autumn Shade" and "Country Yard" share deep roots in British pop. Unlike many other pop postmodernists, the Vines never sound weighed down by all the influences they include in their music -- it's as if they're so excited by everything they hear, they can't help but recombine it in unique ways. In fact, "Highly Evolved"'s relatively weak moments occur when the Vines aren't doing as much musical juggling: Straightforward rockers like "1969" and "In the Jungle" are certainly driving, but aren't as distinctive as the tough, pushy riffs on "Outtathaway!" or "Ain't No Room"'s wound-up, punky pop. Still, "Highly Evolved" is a great introduction to the Vines' eclectic style and suggests that they may have a more distinctive voice -- and future -- than many of their contemporaries. ~ Heather Phares, All Music Guide
