Customer Reviews

Melodia

5 star:		(3)
4 star:		(4)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

I was surprised to see this come out. After Craig was diagnosed with Asperger's, and after how forced Vision Valley sounded, I figured they were done. But they pulled through it, and now we're at Melodia.
This isn't the same band that put out Highly Evolved or Winning Days just a few years ago. Melodia is much more polished, and lacking in some of that edge. The songs are much shorter, the longest one (not counting true as the night, hands down the best song here) clocks in at just under 3 minutes. I think they're geared more for the mainstream crowd here. That being said, there's still some gems on here. True as the Night is beautiful, Manger, Braindead, and Merrygoround show that these guys haven't completely lost their edge, there's even a Hendrix-freakout style ending on She is Gone. It all flows very well, I usually end up listening to the whole album everytime any of the songs come up on shuffle.
My biggest issue with it though is, again, how polished it sounds. If I wanted to listen to something polished, I'd listen to something more technical or orchestrated, or I'd just turn on the radio. When I listen to the Vines I want to hear more of an edge. I'm not saying put out the same album over and again, I'm just saying maybe put a little more raw emotion behind it. There's enough there to keep things interesting, but I wonder if they'll put out anything at the same level as their first two albums.

3 and a half out of 5 stars. Rounding up to 4 because I love the Vines.

The Vines will always hold a soft spot in my heart. The Australian band's 2002 debut album "Highly Evolved" was an instant smash in their home country and also in the US, and I even saw them live in support of that album (more on that later). Now finally comes the US release of their 4th studio album (released in Australia last year).

"Melodia" (14 tracks; 33 min.) continues the formula of the band, mostly short songs. In fact, all but 1 track on this album are all in the 2 min. range. The opener "Get Out" immediately invites comparisons to "Get Free" or "Ride", the band's best known songs/hits, and if it weren't for the sorry state of commercial radio in the US, it should've gotten plenty of airplay, but alas. The songs come firing back at you in an ever fast pace. "Orange Amber" is a Beatles-like beauty if the Beatles were recording today. "Jamola" is a furious 46 sec. instrumental that then leads into "True As the Night", a 6+ min. epic. and the traditional one long song on any Vines album. The albums clips along quickly at 33 min., and before you know it you wanna play this again. This album is not a great departure from their earlier output, so if you liked them before, you will like this, I can assure you. ("A.S. III" is of course the continuing story of "Autumn Shade", explored on their first 2 albums.)

I saw the Vines at Bogart's here in Cincinnati in support of their debut album, and they were outstanding, period. Regretfully, since then, singer-songwriter Craig Nicholls has dealt with all kinds of issues, and long story short, the band has not toured much (none outside Australia) since then. What a shame. "Melodia" is a nice return of the Vines, even if it doesn't break any new grounds.

The Vines are now on their fourth studio album. These Australian rockers know how to put out an irresistibly catchy groove. To say the least "Melodia" is very catchy, yet lacking any ambulation (no walking into any really new territory here).

"He's A Rocker" as explained by Craig is meant to be simply, but doesn't restrain itself from being great. Thumping beats with infectious waves of clapping summarize many of the songs. Their really seems o be a fun factor to the album, it ignites a smoothly defined aura that many alternative rockers turn into pretentious tunes. "Kara Jayne" is not the next movement of the similarly named track "Mary Jane" from their debut "Highly Evolved", instead a tune caressed in a loving nature. "True As Night" is the only really twist hear, the contrast compared to the blietzkrieg of sound from "Jamola" is an interesting one at that. True is rather long for the Vines, and it feels to gather from their older more softly melodic tunes.

Overall "Melodia" feels closer to their previous album "Vision Valley", then golden days of "Highly Evolved" and "Winning Days". Not a bad thing at all, but not a strong enough variety or change in sound to make for an amazing album.

I looked forward to this ablum, I really did. Having been a fan of The Vines since NME proclaimed (perhaps unwisely in retrospect) them the 'saviours of rock' almost ten years ago I expected this to be a return to form after the disappointing Vision Valley and it is...ish. Let's be honest, Craig Nicholls has never been the most original song writer, but then the mantra of 'if it isn't broke, don't fix it' is one that stood The Vines in good stead through their first two albums (yeah, I actually think Winning Days was an amazing album). As a result this is more of what would best described as a more melodic Kurt Cobain singing John Lennon songs. The only problem is that whilst still delivered with the same sort of conviction and gravitas as always, the quality of the songs aren't what they used to be. As the title would suggest this is a far more melodic album than Vision Valley, though there are certainly tracks with their fair share of the balls out rocking which made the Vines a name in the first place (Braindead for instance). One only needs to look at the track titles though to see that Nicholls has run out of ideas to some extent (Kara Jane a nod to the far superiour Mary Jane from Highly Evolved and Autumn Shade III, which is nothing to versions I and II). Equally some of the weightless, atmospheric vibe so in evidence in Mary Jane or Amnesia has fallen away, exposing a blandness to the lyrics which was always there to some extent, but not always never noticeable. True as the Night is a perfect example; the beginning is plodding, the lyrics are almost comically simple and the strings sound misplaced, but then half way through it finds its pace, Nicholl finds his voice and it becomes a gloriously floating, musically stirring statement of what might have been. And that's the problem with this entire album, some of the songs are catchy, some of them are stirring, the harmonising on A Girl I Knew in particular is classic Vines, but there is something to complain about (lyrically, lengthwise or just musically) on all of these songs where there wasn't in 2002 or 2004. The problem is we all know 'what might have been' because Highly Evolved and Winning Days tell us so. If you're a diehard Vines fan who's spent the last decade defending them to everyone who jumped ship when Winning Days came out, then get this album. If you're not, then buy Highly Evolved and Winning Days, become one and get this before you get Vision Valley.

They shouldn't be called 'The Vines', rather 'the unvines', because vines are continually growing. However, they're not really be spent force artistically (if commercially).

I had a bit of trouble with them at first because the lead singer, Craig Nicholls, sometimes slurs his lyrics, so I have to listen closely to actually understand what he's saying. However, after a while you get used to singers and understand them more and more.

These guys want to be predictable don't they? Endlessly hopping from softer song to rocker all through the album. Some of the loud songs are ear splitting noise, although 'He's a rocker' and 'Merry go round' are both quite good. There is an attractiveness about the artistic flair in the softer songs. True as the Night might be an epic, but 'Orange Amber' and 'Kara Jayne' are both gorgeous little ditties, with 'Girl I knew' and 'She is gone' not far behind.

And this album is (blissfully) free of expletives. The last thing we need is another jumped-up-starry-eyed foul-mouth trying to prove how tough they are. Rating **3/4 (2.75)

The Vines always release good albums and Melodia is no different. This is a great CD at a great price.

Not as good as their previous albums, but they still have the chops for beauty. There's an Autumn Shade part 3 (A.S. III) and True As The Night, they're also still good at the rave ups like Manger. I won't point out the songs that aren't as good, because the album is still growing on me, but I'd still rather listen to one of the previous three. Given a few years that may change. You can hear some broadening in their own talents. Brad Headley being the new full time bass player may have brought more depths to the table also with, I'm sure, Craig Nicholls being aware of how not to stay sonically in the same place. This album DOES make me curious about album number 5.

If you like the Vines you will like this album. It has much the same sound as "Highly Evolved" and "Winning Days," since they have gone back to the same producer. It has that same straight-ahead sound which "Vision Valley" lacked. While I've heard that some people have been disappointed by this album, criticizing its "simplicity" or tendency towards "short songs," I think this is one of their best. Lots of good rockers on this one, so play it loud.

I can listen to this CD over and over again. And it's been out for almost a year. The songs go from desperation, elation, grief, immense joy to downright what-the-hell-does-this-song-mean-and-who-cares.

It truly is all over the place, that's what I love about it. 'Highly Evolved', 'Winning Days' and 'Vision Valley' were all great in their own rights certainly. But 'Melodia' goes beyond. Deeper. More introspective.

I can't put into words all the things I love about this album, all the things it makes me feel and think. I just know that I enjoy it and it's one of my favorites. I am so glad the Vines are still around, that Craig is still around, and he's still creating something great for the world to hear.

From the group that gave us Ride, Animal Machine, Outtatheway, Sunshinin', Dope Train and quite a few other great songs, this is a let down. Of the 14 songs, 5 are ballads and The Vines should never do ballads. All of the other songs start off okay, but degenerate into a cheap mimicry of their former greatness. Yawnnnnn.

Braindead is the only song that was iPod worthy and that barely made the cut. And, as far as values goes, 32 minutes of music doesn't cut it either. A lazy, pathetic effort from a washed up band.