Ivy League
The cutest thing about the release of Melodia, the latest slice of satisfying same same from The Vines, is that it's hot on the heels of Capitol's release of their Best Of. Yes, write three half-hour albums and you too could be honoured. Of course, that album was reviewed glowingly, since Nicholls & Co. certainly know their way around an irresistible single.
Regardless of how much The Vines claim to have influenced a new generation of bands, they're hardly going to go down in history next to Nirvana or Radiohead. The downside of utilising the same template album after album is that it lacks adventure. The upside is that the place The Vines have positioned themselves - at opposite ends of the spectrum toying with dreamy guitar pop or adolescent punk tantrums - is just perfect. Familiarity doesn't breed contempt on Melodia, it's more like the return of a childhood friend.
The Vines have Rob Schnapf back on board, thickening the guitar roar on the rockers and capturing the airiness on the acoustic lilts. The album is arranged almost one for one with light and dark, fast and slow songs. The titles are interchangeable with other albums; 'Get Out' versus 'Get Free', 'Kara Jayne' versus 'Mary Jane'. There's even a wistful third installment of 'Autumn Shade'. The only thing bumping it over the half-hour mark is the six minute orchestral sway of intermission 'True As The Night'. Which is three minutes too long.
Otherwise, Melodia is just right. Let go of your cynicism. Calm those withering looks directed at Nicholls' antics. Lighten up on the need for groundbreaking sounds. Tap your foot for thirty minutes and simply feel happy.
Andrew Tijs