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THE REVIEW
Craig Nicholls is not well. In the past two years, more has been said about Asperger's Syndrome (a rare form of autism that is the source of his violent and bizarre antisocial behavior) than about the music created by his Vines. After the flop of Winning Days (2004), Nicholls tries again, releasing the thirteen songs of Vision Valley.
The formula is always the same: tracks with an almost country sound (Take Me Back, Going Gone, Vision Valley) and violent garage-punk lashes (the singles Don’t Listen To The Radio and Gross Out). What surprises this time are the ballads: Take Me Back and Vision Valley precisely because of their absolute simplicity are the best episodes of this comeback. Many, however, will prefer to overlook Nicholls' evident musical maturation to better focus the spotlight on his shaky mental health. A real shame since the young man, despite being decidedly unwell, seems to still have something to say.
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Summary by Bot
The Vines' Vision Valley marks a gritty yet mature return after a disappointing previous album. The mix of country-flavored tracks and fierce garage-punk remains, while surprisingly simple ballads stand out. Despite Craig Nicholls' well-documented Asperger's Syndrome affecting public focus, his musical growth is evident. The album balances raw energy with new depth, making it a noteworthy comeback.
The Vines
The Vines are an Australian rock band from Sydney, frequently characterized (in these reviews and broadly in public discussion) by a blend of '60s-leaning pop/psychedelia and '90s grunge abrasiveness, fronted by Craig Nicholls.15 Reviews
Other reviews
By ste84
Here comes the blown-up Craig Nicholls again, returning with his group of poor souls forced to settle for a mentally unstable front man...
In this valley you only see things that have been seen over and over...
By JULIANHAMPSHIRE
Spaceship (arguably the best track on the album)... it’s pointless to extend it over 6 minutes just because the other tracks don’t reach half an hour.
Craig’s voice, with its famous overlapping counter-melodies, never bores.
By Roberto De Filippis
The album opens with a sort of intro made of limping guitar riffs with four chords in a '70s style supported by Nichols’ energetic and excited voice.
Candy Daze, which shoots off in the manner of Beatles’ intros, continuing to inspire a gentle rubbersoulesque psychedelia that compromises with Nirvana.
