Brief description: just before they debut in the charts, they speak to us.

Location of interview: Oxford, UK

The Vines are the latest media-luvvies: four young, hard-rockin' Aussies with a set of tunes and live-set to rival anything produced within the last few years. Or, as some are saying, to rival anything since Nirvana.

Yes, they've been tipped to be 2002's phenomenon, their large-scale appeal originating from material that's brave enough to touch the harmonies and melodies of the finest Brit-groups, the cranked-up amps of the US' best exports, and an energy and passion that is distinctly, well, Vines.

Music-fans have shown their admiration in the early stages of their development, too, what with the group's debut, limited-edition 7" single, the roughly-recorded demo of 'Factory' – released last year on Rex Records – selling out instantly, and demand to attend their first ever UK shows being extraordinary. Also, as the band lounge around and prepare themselves for tonight's final UK gig 'til the summer – a packed-out affair in Oxford's Zodiac – little do they know that, tomorrow, The Vines shall crash right into the UK's top-40, with their inaugural single-proper, 'Highly Evolved'.

Such achievements so early on can't merely be down to luck; so, what about the talent behind the enterprise? From meeting each of the quartet, it doesn't take a genius to recognise their cool intelligence, which extends beyond such antics as throwing electrical-devices out of hotel-windows. More likely, you'd find The Vines unwinding together, exchanging conversation and listening to their favourite artists. In fact, when we barge into their dressing-room before show-time, they are doing just this, with Pulp's classic LP 'A Different Class' spinning on their CD-player. Sadly, though bassist Patrick Matthews, drummer Hamish Rosser and acoustic-guitarist Ryan Griffiths are either on their way out to investigate the local eateries in the nearby town, or merely hovering around the venue preparing themselves for tonight, occasionally dipping into the conversation and offering a few words. However, here throughout is frontman and guitarist, Craig Nicholls.

Now, it's fair to say that you know when you're in the presence of a special person, because they seem just too different to anyone else you're knowledgeable of. This is the case with Nicholls. As he sits and answers questions, he stares around the room peering for inspiration, as if his responses are plucked from the high ceiling above, his eyes darting about so rapidly whilst you can only wonder what he's truly thinking. His speaking-voice is unusual, too; aside from his otherwise conventional Australian accent, there's a halting in his sentences and elongating of certain words that adds effect to what he's saying. The overall impression is that you're meeting someone with a well-reasoned discernment on what he should speak of, and, in the least patronising sense possible, possessive of a naivety that is remarkably refreshing.

Possibly less refreshing, however, for Nicholls is the arrival of another interview today, yet we try to avoid repetition. But, what do they most commonly get asked about from probing reporters during press-duties?

'Usually, it's how we got started, what our influences are,' sighs Craig. 'They don't really need to ask me anything... If they want to listen to the songs, that's cool, and if they wanna come and see us play, that's great, too...'

What he's just said is essentially the bottom-line essence of The Vines. The band are not about debauchery or cliché, but instead, perhaps quite strangely for current times, just writing material and playing to appreciative audiences. So, incidentally, what are the key variations between making a record and playing on concert-stages?

'They are two different things,' he returns, pinning down the dissimilarities. 'It's just fun playing loud, but then there's the studio-thing where you concentrate on more – and we love doing that because there are more possibilities...

'When we play live, though, we're certainly not trying to reproduce the album or studio-tracks in exactly the same way... But we wanna make albums, really – that's what it all means to us. Playing live is not secondary, but it is a totally separate part of what we're doing.' 

And, when people hear The Vines, in an ideal world and either on record or in a live-setting, what is it that you hope people pick up from your music?

He spends little time trying to ponder potential reactions. 'I'd just hope that they think it's good music! Also, maybe that it's intelligent, but simplistic at the same time, and mostly that it's with real instruments and imagination, with the songs having diversity...' 

From a writer's perspective, this is where covering such an act gets a bit difficult. When you describe artists in reviews, the most immediate and effective way of getting across to the reader just what they sound like is via comparing their music to other musos of relevance. Musicians that The Vines are said to sound like? Well, there has been that Seattle grunge-band which emerged during the early-90s, not to mention The Beatles and many other key British combos. However, if Craig were in a journalist's position reviewing his own band, what would he report on?

'I'd maybe describe what the songs are about, the feeling of it,' he utters interestingly. 'Also, I'd just think about what the band and the music is...' He then pauses momentarily, before explaining his views on the scenario. 'The truth is that it's hard to put it into exact words, and that's why I'm attracted to music...' 

What do you think the fundamental differences are between yourselves and other guitar-acts?

'I can't really say because there's a lot of great bands around at the moment,' Nicholls replies, diplomatically. 'It's possibly to us more about having internal success with the music rather than anything else... I was at home recording with a four-track not long ago, and that was enough for me... We just kept writing songs, and kept recording so we just had all these demos of all these songs which have evolved naturally...'

Aside from the songs and their backgrounds, there's of course Craig's fascination and application of the vocal-howl, in the form of rock 'n' roll screaming. Yes, much like a primal Robert Plant, when Nicholls yells, he steams up glasses, crumbles buildings and whips crowds of all sizes into a riotous frenzy...

He grins on hearing the subject. 'It's featured in the heavier songs, and they're there because it is rock music. I don't consciously think about it, but it does represent a kind of freedom... Luckily, it's not too much of a main part of what we do; this is why the heavier songs will still be kind of melodic and about something... It won't all be abstract and personal all the time – maybe, but not totally all the time...'

Something that extensive press-attention attracts are misconceptions and misunderstandings on where the band are coming from, spiritually and musically. What are the most common mistakes that observers of The Vines seem to be making?

'Well, I'm not really sure about it,' Craig answers truthfully. 'I just don't want people to think that we're trying to compare ourselves with any other bands... Also, it's not important what we look like, and it's not important what we say outside of the lyrics and songs...' 

What about their being from Australia – is this a vital factor of their song-writing process?

'I think it may have something to do with the way our music sounds,' he replies, seeming proud of his heritage. 'I think that it's a cool place; it was peaceful where I grew up. I loved music and listening to different stuff, and the band just developed from that sort of idea...'

From the way he reacts to each question and the wavering levels of confidence he generally displays in providing responses, Craig seems slightly uncomfortable acting as the recipient of questions within interviews. It's a shame, because what he comments on can occasionally touch on a side of thinking and logic that's not necessarily as commonly used by others.

'Yeah, they (interviews) are just not as much my light as making music,' agrees Craig, slightly more relaxed once this fact is shared. 'With the band, there is more thought behind it, and we have so many influences that have helped us, aside from The Beatles and Nirvana, like Supergrass, too...'

If you weren't in such an environment, though, what else would you be doing in life?

'I dunno,' he provides, baffled by the possibilities. 'Maybe painting, or drawing...' Then, suddenly, his eyes light up. 'Or skateboarding!' 

The idea of merging skateboarding with playing music live onstage excites a passing Hamish Rosser.

'I like that,' he exclaims enthusiastically, his imagination allowing his mouth to continue, 'It would be cool to have quarter-pipes on either side of the stage!'

Yes, quite. But, on to possibly the most important topic of discussion – just what is the mission of The Vines..?

Craig thinks to himself for a second and reveals the hidden truth. 'It's about just not worrying what other people say, and about creating a world within the music... It's all art to me: the songs represent different paintings, different stories – fictional or not, it makes no difference...' 

We leave at this point, allowing the singer and band to have a break in order to compose themselves for the evening's show.

By the time they arrive in front of hundreds of eager fans later on, all that's been written about them is instantly found to be true. Live, the wonderment of their anthems, 'Highly Evolved' (also the title of their upcoming LP) and second single, 'Get Free', the beguiling beauty and effervescent charm of 'Mary Jane' and '1969'... The crowd-applause to such numbers is understandably rapturous. Their impact signified a band greatly yearned for, and hugely needed.

... Expect the same when they play a show near you... And expect to hear one of the finest works of art of the year when their LP graces your ears; after all, rock-music is seldom provided so exquisitely – or from such intriguing characters.