2 of 2 people found the following review helpful
on 18 January 2012
For those who like the vines, you'll like this album. For those people who read NME magazine and let it make up their minds for them, you won't.
Apparently this bands songs have been in decline since winning days which is nonsense really. It's simply their popularity ie. the posh kids that write for NME are over the hype.
This album is not the best of the vines but should keep real vines fans happy until the next album comes along (assuming craig keeps it together!).
Main criticism is it would be nice to have at least a few songs that are actually longer than 2 and half mins!
'All that you do' particularly stands out for me...
4 of 7 people found the following review helpful
on 10 June 2011
I've been faithful to the Vines far more than most since Winning Days was panned by the critics in 2004 for not being original enough (I actually thought it was brilliant), and I've been willing to forgive the rather blaring holes in Vision Valley and Melodia for the most part as well, but Future Primitive is frankly a massive disappointment. Let's face it, Craig Nicholls was never going to win any originality contests, but through the first two Vines albums at least he did one thing and he did it well; namely producing rock songs filled psychedelic harmonies, grunge ridden distortion and a (refreshingly uncontrived) punk attitude. Some of that is still in evidence on Future Primitive, though none of it sounding as well thought out as it did on Highly Evolved or even the better parts of Vision Valley or Melodia. The real problem with this album though isn't the declining standards of Nicholls' song writing (a condition which has frankly been in evidence since 2004), it's the attempt to inject a different sound into a band which did orthodox rock so well. The experimental instrumental 'Outro' (the longest song on the album, but still under the four minute mark) is a horrendous cacophony of backwards drum beats, tempo changes and twisted vocal yells that sound like a those of a sheep locked in a room with a lonely shepherd. It's terrible. It's the Vines' 'Number 9' and The Beatles only got away with that one because it was the late 60's and they were The Beatles. There are other departures from traditional Vines territory too; 'Cry' and 'All That You Do' contain terrifyingly 80s keyboards and 'Future Primitive' actually has a bass drop (yeah, like in dubstep!). These changes wouldn't be so bad if they worked, but they don't. 'Future Primitive' would sound just as good/bad without the thumping low frequency oscillation and 'All That You Do' doesn't need Depeche Mode-esque keyboards. The Vines were brilliant because they were a no nonsense guitar driven rock band that came out in an age still largely dominated by the likes of Fatboy Slim and Moby. The more orthodox Vines songs such as 'A.S.4', the latest (and worst) in the 'Autumn Shade' series and the boring Gimme Love display how far the Vines have fallen since 2002's Highly Evolved (every track of which was an absolute howler). The only song I found myself listening to again with enjoyment was S.T.W. (another homage to an earlier and better Vines song), but even that has been partially sullied by the use of a cheesy sounding keyboard where a heavy guitar riff would've been a few years ago. On the negative side then, The Vines have finally hit that rock bottom they've been heading for since 2004, on the positive, the only way is up!...I hope.