🟥 This article is translated from Japanese.

After a winter season shrouded in total darkness, they have finally returned. 28 years of his life, he has come to know for the first time his own disability. They are separated from their boyhood friends and family. The loss of memory. The Vines' third album, "Vision Valley," brings into graphic relief the immense pain, suffering, and sorrow that frontman Craig had to go through. And yet, the strength, determination, and talent of these guys, who never stopped searching for music, shines brightly in the 13 songs. How did they arrive at the horizon of a new beginning? In their hometown of Australia, the three talked about everything that happened in the "blank two years".

Sydney, March 17. The Vines' management office is located in a quiet residential area a little west of the city. The summer in Sydney is not over yet, the sun is shining brightly in my small backyard, and I can hear the tropical chirping of birds in the distance. It's a very calm and quiet afternoon. It's been exactly two years since I visited the band when their second album, "Winning Days," had just been completed. Yes, I was able to come to Sydney again. Yes, I was able to come to Sydney again, of course, to see The Vines again while listening to their third album, "Vision Valley," which was finally delivered to me through my headphones.

This time, the band was only available for a limited number of interviews, not only in Japan but also in other media around the world. Our original plan was to have a 30-minute phone interview with frontman Craig Nicholls. However, once you actually listen to the new album, you will soon realize that it is not so casual and straightforward that you can tell everything in such a short time. Besides, they have been through so much painful and bitter experiences in the past twenty-odd months. There are probably many questions and answers that are difficult to ask and answer. If that is the case, can't we talk to them for a little longer? If possible, can't we have a face-to-face meeting in Sydney? Such our absurd offer was accepted just a few days ago. In about half an hour, the three members of the band will be here, and our first interview in a long time will begin.

Before we begin our interview with the band, it might be a good idea to explain what has happened to The Vines in the last few years. The best way to do that is to hear from their manager Andy Kelly, who has been watching over them and supporting them.

"Last week, we finally got a call from Triple M," he said. "'We want to let bygones be bygones. So, can you send us a copy of 'Don't Listen to the Radio'?' That's great!" He was smiling good-humoredly like that and telling me a story related to an incident that happened at the Anandale Hotel two years ago. In May 2004, the band returned to their hometown after a tour of Japan and took the stage at a show hosted by Triple M radio station. Craig Nicholls swore at the audience and stopped playing after only a few songs, and when bassist Patrick Matthews ran out of patience, he left his instrument behind and never returned to the stage or the band. Then again, Craig assaulted the cameraman who was filming that day, damaging his camera. The incident was later taken to court, and the organizer, Triple M, informed the band that they would not be allowed to play their songs on air forever. However, Andy says that this relationship is being restored now that "Vision Valley" has been completed. Well, let's take it a little slower.

This incident also revealed another major fact. Craig Nicholls has Asperger's syndrome. It is difficult to define Asperger's syndrome here. It can be roughly described as "high-functioning autism with no impairment in intelligence or language and normal cognitive abilities." The symptoms and disabilities vary from person to person and can never be limited to a specific category. Some people find it painful to make eye contact with others, while others have difficulty with the telephone. Some people feel pain when people touch them, while others can only wear clothes made of a certain material. Some people have outstanding abilities in science and mathematics, while others are incredibly talented in music and art. Everyone is different. However, the most common symptoms are known to be "preference for a certain routine/obsessive behavior" and "social and communication difficulties. So, why did Craig once insist on eating only McDonald's and Coke and smoking marijuana so much? Asperger's Syndrome is one answer to why he had to experience extreme confusion every time he went to a strange place. Of course, this is the same reason why the 2004 concert in Japan was like a storm.

"Of course, I'm really sorry about his behavior in Japan. Because the Japanese people welcomed them so warmly. It's just a shame that he behaved like that in every other country in the world (chuckles). But culturally, Japan was the worst place for that behavior. It's just... Craig can't remember most of it. Every time he overhears an action he doesn't remember, he regrets it. He doesn't remember Jay Leno's show, and he doesn't remember (David) Letterman's show. He doesn't know why he looked like that when he watched the video for 'Get Free' or 'Ride.' He doesn't even remember Homebake, you know? A big part of that period is missing from his memory."

Shortly after that incident, Craig was effectively indicted. He had to appear in court as a defendant, where he had to use his already diagnosed Asperger's syndrome as one of his defenses. The announcement, while still in the middle of the case, made the local media and the world go crazy. Everyone wanted to know the reasons for some of the strange things he had done since his debut, such as breaking an interviewer's tape recorder, locking himself in the bathroom for more than two hours because he didn't want to be interviewed, and lying on the floor motionless.

"He himself said he was 'almost relieved' to have been diagnosed. He said he was 'almost relieved' to be diagnosed, at least to have a name for it - for the fact that he was different. Craig had always felt that he was different. But, yeah, he accepted the diagnosis... a lot easier than we thought he would."

After that, all stages were cancelled, including the big tour that was scheduled, and The Vines went into a period of complete silence. Of course, it was also a time for Craig to focus on his healing.

"The most important thing for the past two years has been for Craig to get better. To be honest, we didn't have any professional goals and we didn't worry about them not being able to tour. We just wanted Craig to be happy again and to be good enough to want to do music again. That's what we've been trying to do for the past two years. In fact, I think it was almost as if they had to drop to the bottom in order to get back up. In fact, after he was diagnosed, Craig got worse for a while before he got better.

In "Vision Valley," you can see the very raw emotional scars he suffered at that time. "Tell where I'm going to / Got nothing I wanna lose / Round and round and back again / Grin upon my fuckin' head" He has traveled around the world with a band, longing to throw hisself into a musical frenzy, and he has almost caught that dream, but he has ended up back here again. Moreover, he lost everything that he had worked so hard to build up. The words scribbled in "Nothin's Comin'" seem to spit on the passion he once had. Even on "Take Me Back," one of the album's most beautiful mellow acoustic numbers, where he sings of longing to "Take me back to the weather," he feels as if they've already become a band of the past, forced out of the most exciting places and he reveals his loneliness and defeat, that they are already a band of the past, kicked out of the most exciting places and forgotten by people. On the album's opening track, "Any Sound," the band compares themselves to a twisted and frayed grapevine, muttering, "Time hangin' around / Been gettin' me down now baby yeah / Show me any sound / Kill me now I'm dead."

Yes, this line says something very important. The Vines began their slow rebirth in search of a single hope, a faint tingle of wanting to hold the music in their hands again, and the album "Vision Valley" was born.

"It was a really slow process," Andy recalls, "and I think what we were doing at that time was just encouraging him to keep going. For example, we would ask him, 'Have you written a new song?' or 'How are you doing now?' I kept calling out to him and visiting him at his home. The funny thing was that he carried around a DAT tape in his pocket all the time (laughs). At first I asked him like, 'What's that? What's on it? Can I listen to it?' But he said like , 'Uh, well,I don't know.' So finally me and my other partner went to his house, sat down, and he gave us headphones. We took turns using them, and he let us listen to a couple of songs (laughs). That was kind of the start. Then I kept talking to Craig about the songs, and he started saying, 'I really want to make this album, and I want it to be very direct and the best album I've ever made.'"

And after a blank period of time, with no one expecting it, The Vines' third album "Vision Valley" was born. The artwork, which shows a single tear spilling out in the pitch black darkness, is, according to Craig himself, "intended not to disturb the listener's image of the work." But perhaps there was no other way to describe the past two years, when all hope and future were cut off, and even his music, which was supposed to be his only safe haven, was about to fall from his hands, than to paint it in black.

The album contains 13 songs that are only 31 minutes long. Each of them is more direct and very powerful than ever. This is, of course, a result of his natural talent for writing straightforward, hook-filled, two-minute songs. The lyrics are deeply introspective, but the sounds are sharp and light. The simplicity of the song clearly narrows its point, and not a single note or bar is wasted. The soft, sunny psychedelia of "Don't Listen to the Radio" and "Candy Daze". The fantastical sound of "Vision Valley" sucks you into a deep sense of relief and sadness. "Going Gone" is serene, as if after all the tears have been shed. Then there are the rock tunes "Dope Train," "F*K YEH," and "Gross Out," which seem to cut through the darkness in an instant. Four years ago, during my first interview with him, he told me, "I'm going to keep making great albums, because from now on we have to be called by our own name, and not by the names of other bands when it comes to our music! I recall that he was full of anticipation and excitement.

Now it was time for the appointment. Arriving on time was drummer Hamish. He was as big as ever, with a big figure and a big smile. However, when I looked down at his feet, I noticed a plastic device attached to his left leg below the knee. He said he had injured himself surfing. We chatted with Andy and Hamish and waited for the other two, and after about 20 minutes, the door opened quietly. From behind Ryan, Craig greeted us with a small "Hi." He has grown a lot of hair and, well, to be honest, his figure has changed a lot, too. But he still has the same shy, awkward, downcast smile. "I've been saving all the 'Snoozers' I've received," he said. I have interviewed Craig several times before, but this was the first time all the band members were together. Because Craig has never allowed anyone else to talk about his music. This time, however, he personally requested that Ryan and Hamish be present as a condition for giving an interview. The fact is, Craig is still in a difficult position to have a smooth conversation. It is not an easy task for him to hold a two-way conversation for an extended period of time. Compared to the past, when he used to talk about his ideas with surprising enthusiasm when it came to music, and sometimes to an astonishing degree, he talks much less, and his speech is more faltering. But Ryan and Hamish are watching him closely on both sides. There was even a moment during the interview when Craig, who was at a loss for an answer, asked them for a helping hand. This probably indicates that they have changed a lot as a band after "Vision Valley". Yes, over a very loose period of time, they finally wrote a new page in their adventure record. And the future that The Vines are going through is still full of many possibilities.

—Really, today, more than anything, I am glad to see you three again.

Hamish Rosser: (laughs) Excellent!

—And thank you for giving me the opportunity to talk to you.

Hamish: Only for our favorite magazine (laughs).

—Thank you. So, where should we start? I guess I should start with my thoughts on the album.

Craig Nicholls: Okay.

—I thought "Vision Valley" was the most beautiful and the saddest album ever.

Craig: Yeah... I guess I have to agree. There is definitely sadness. Yeah (laughs).

Hamish: I'm glad you think it's the best. I think it's our best album. It's very strong, there's no weak songs.

Ryan Griffiths: I think they are all happy inside.

Hamish: But there's melancholy on the first two albums, too, right? Kind of. You could say that, right? It's not all sunshine.

Craig: Haha.

—Yeah, there were dark and melancholy emotions in "Highly Evolved" and "Winning Days" as well. But I think a lot of it was irritation, anger, and frustration. But I think this album is more about the pain and sadness that lies beyond that.

Craig: Yeah. Well, I guess I was sad. I don't know how to answer that.

—Okay, I'll ask slowly. When did you actually start writing songs for the new album?　

Craig: 2004. I think it was late 2004, early 2005...

Hamish: (cell phone rings) Oh, sorry.

Ryan: (laughs) Oh, what the hell.

Craig: Hahahahaha.

Hamish: That's what happens when my cell phone rings. Sorry, go on.

Craig: ...I lost my concentration. Yeah...I wrote the songs in 2004-2005.

—Did you write songs slowly?　

Craig: No, I don't think so. It was done pretty quickly. A lot of the songs took shape around the same time. So...yeah, I think it was pretty fast.

Hamish: Even for us, when we were suddenly playing a lot of new songs, we were like, "Wow, these are good songs! I was like, "Oh, my God, I'm so happy. Unless Craig had been hiding it for a long time (laughs).

Craig: No, I hadn't.

—What did you two do during that time?　

Hamish: Toward the end of 2004, one of us would often go to Craig's house to make demos of songs. We did about 6 or 7 songs at that time?　

Craig: Yeah.

Ryan: During that time, I think we were probably simply taking a break. Since the last time we played. Well, I guess you could say we were waiting. But it wasn't so much waiting for the songs to come out, it was more like we were waiting for them to be ready again. Waiting for the focus to come back.

—Do you remember which song was the first one to take shape?　

Craig: Let's see...

Hamish: "Take Me Back"?　

Craig: Yeah, "Take Me Back" was the first. We made a demo of it and thought it was good. It was... it was an 8-track at the time. Yeah, I think that was it.

Hamish: "Nothin's Comin'" was almost the beginning. That was when we made the demo.

Ryan: "Dope Train" too.

Craig: Yeah. "Dope Train" and "Nothin's Comin'" too.

—I imagine that "Take Me Back" is a very simple reflection of how you felt about wanting to return to your place, your hometown, after a long and exhausting tour of cities around the world.

Craig: Yeah, maybe... I think that's a good description. Maybe. I don't really know what I wrote... yeah, maybe that's it.

—Are there still a lot of songs that you haven't been able to objectify in your mind what you were trying to write about?　

Craig: Yeah, I think so. There are a lot of lyrics that are pretty abstract. I don't know what I'm saying sometimes (laughs). But it doesn't have to be 100% clear in terms of the song's ideas. It's more about having more general ideas, you know?

—I guess so. But actually, many fans listening to this album might imagine that after Winning Days, you experienced several events over the past two years that caused you a lot of suffering. What do you think about that? Do you feel uncomfortable with the idea of exaggerated stories or emotions being directly tied to your personal experiences in the songs?

Craig: No, I don't think so. I don't care how people take the songs. I don't care how people take it, because...you can't control it. I write from personal experiences, but some of the songs are just made-up stories. And a lot of them are abstract. So I think that's probably okay.

—How did you two feel about it? To be honest, I think some of the songs must have seemed too direct, depending on how you look at it.

Hamish: Of course, I thought it was quite personal. Maybe the first two songs I heard were "Take Me Back" and "Nothin' Comin'," and yeah, there is a bit of sadness. I thought there was even some suffering in the latter. Well, that's what I felt.

Ryan: I don't know how to say it, but I think sometimes abstract songs make more sense. Especially the ones that Craig doesn't even understand (laughs). Because they are written more subconsciously. If you listen to it and think about it, you start to understand what it means. And at the same time, it feels very personal.

—Craig, you once told me that when you face certain challenges, you get through them by allegorizing them in your songwriting.　

Craig: Yeah, I think so. I still have that kind of imagination in my songs. ...Dreamy sounds, that kind of thing.

—Did you actually have an experience of writing a song when you were facing some difficulties?　

Craig: Yeah. I feel like I can get that out in a good way. It's a good way to express myself. Through the songs... lyrics, sounds, melodies.

—A lot of the songs on this album, like "Don't Listen to the Radio," "Nothin's Comin'," I felt a very strong sense of rejection and betrayal throughout the album, especially on songs like "Take Me Back". If that is true, what do you think it was that rejected you, that hurt you, that pushed you over the edge?　

Craig: No... I don't know. I guess I just felt very... alone. So... it's confusion, I guess. That's probably it.

—Do you think there are feelings, for example, toward the media that changed their attitude suddenly, or toward the fans who left the band?　

Craig: No, I don't think so.

Hamish: The word "betrayed" feels pretty harsh. Of course, in 2002, the media was very favorable toward us and wrote a lot of articles. So, there is a sense of having been turned away, especially from the UK media. But that’s just how it is. They blow things out of proportion, and in tabloids, it becomes a big “story.” They have to make everything exciting.

Craig: (puts on Hamish's sunglasses)

Hamish: ...That's nice! (laughs)

Craig: Haha.

—So, do you think the anger and sadness on this album is not directed at the outside world, but only at yourself?　

Craig: Yeah, I think so... yeah (laughs). No, I think it's more... I mean, I think it's more about the situation that I'm in.

—Can you explain that a little bit more?　

Craig: Uh...maybe I felt isolated. But I guess that doesn't mean that... nobody put me in that situation. Yeah. I think I put myself in that situation. Well, I was alright with it (laughs).

—But I think that’s one of the hardest things—to push yourself without blaming anyone else.

Craig: Yeah...I blame myself.

—I know this is a hard question to ask, but I'm going to ask it because I think this is something that all Japanese fans would like to know. Do you guys remember when you toured in Japan two years ago?

Ryan: Yeah.

Hamish: I remember.

—I think that was probably the most confusing time for Craig, the band, and the fans.

Craig: Yeah...I want to apologize to them.

—No, no need to apologize.

Craig: ...Okay. Got it.

Hamish: (laughs).

Craig: ...To tell you the truth, I don't remember much. I know it was a very stressful time, but that's about it.

—Yeah. Of course, I think there were more than a few fans who were hurt at that time. But even if they were hurt, they were still waiting for you. And now you have come back with a new album. I think that's the most important thing.

Craig: Yeah... Yeah.

Hamish: Have we made it up to them?　

—Yeah, in the best way possible.

Craig: ...Thanks. (laughs)

—So, since you formed The Vines and decided to pursue music, after three albums, what dreams do you think you have accomplished? Do you feel you have achieved what you once aimed for?

Craig: Yeah, I think so. We just wanted to make a good album... and I think all three albums are good (laughs). So I think we accomplished what we wanted to do. We wanted to play music.

—What do you think has yet to be accomplished?　

Craig: Uh... what could it be?　

Hamish: We haven't played Fuji Rock yet.

Craig: Yeah, that's right (laughs). We haven't done that yet. But... no, I think we've accomplished more than I thought we would. And we just want to keep doing this, I guess.

Hamish: I've always wanted to be in a band, tour, and record an album. And with The Vines it all happened at once. I joined the band, went on tour right away, and made an album, so most of my ambitions were fulfilled at the same time when I joined the band. So now I guess we have to set a bigger goal. Like, playing in stadiums, or having wild parties backstage.

Craig: Haha.

—Do you think there is anything you had to give up?　

Craig: I don't know...I don't think so.

Ryan: I don't think so either.

—For example, the second song, "Nothin's Comin'". What do the words "nothing will ever change" in this song mean in terms of resignation?　

Craig: Uh...I don't know. Maybe I was feeling negative when I wrote it, like, "I don't know if I'm ever going to be like this again." I didn't know what I was going to do. This was the first song I wrote in this album. So I was like... just, um... (to Hamish) Help me.

Hamish: (to Craig) "Nothin's Comin'"? Where did that song come from?　

Craig: Yeah, it's right there, but what can I say... it's "nowhere." That's what that song is about. I was just... I was sad. I don't know how to say it, but there's no hope, there's no future. No future! (laughs)

Hamish: You mean you don't know what's ahead?　

Craig: Yeah, yeah. Nothing. That's why it's called "Nothin's Comin'."

Ryan: It's just one of those moments.

Craig: Yeah.

—I have a "future" related question. Where did the idea of a future with no progress, a future where development has stopped, come from in "Futuretarded"?　

Craig: That song is just about technology. I think that song is about the past as well as the future. And... it sounds really old to me. The sound. It doesn't sound futuristic.

Hamish: It has a bit of a tribal feel to it.

Craig: Yeah, it's tribal.

Hamish: We are the tribe, but we have electric guitars! Haha!　

Craig: Haha! He's funny (keeps giggling). Look, Hamish is so funny. He thinks we're a tribe with electric guitars.

Hamish: What century are we from? (laughs) We still need to have plugs.

Craig: (can't stop giggling).

—It can be about the future, or it can be about the past. In other words, a sense that it's not the present, at least not yet?　

Craig: Yeah, not the present. Uh... but maybe a little bit of the present. Like the first line ("I don't know how the future started"). Yeah. And...I think the title of the song says a lot. "Futuretarded" is also about people. It's about, "I wonder what it was like when the human race started." When we were still a tribe. (Laughs) And then...as technology increased, people became more isolated. To survive. I think that's the main idea.

—(Laughs) You mean like a more primitive way of life? Like, you should be more instinctive.

Craig: Yes, I think so. I think we should be more... more like a collective. I think that would be better. Well, that's just my idea. (Laughs) Because... I don't think that's going to happen. We’ll probably end up going out less than we do now. Devices and machines will do things for us.

—For example, is it the same thing as communicating via the Internet, which is essentially isolating people more?　

Craig: Yeah, yeah. But I didn't think too much about it. It's ust an idea. Like cell phones, computers... that kind of thing. I'm not criticizing those things. Maybe I'm just a little confused about them. I'm just saying what I feel. I just feel that everything was so natural in the beginning, and now it's not so natural anymore.

Ryan: Yeah.

Craig: Like, if we run out of electricity or fuel, who's going to be able to survive? I mean, I don't know how to grow plants or produce food. People used to know these things and lived together. But that's not the case anymore. I'm sure I'm going to be at loss.

—Looking back, I feel like "Highly Evolved" was an album that declared, “I’m definitely going to get out of here.” Then "Winning Days" was an album torn between the longing and hatred for that new outside world and the love and sadness for a homeland that feels distant. So, I think your songs have always had the theme of searching for where you belong, your home. Do you think that feeling or theme continues in "Vision Valley"?

Craig: Uh...that's a very good question. But I don't know how I can answer it. Maybe... there is no home.

—You think so?　

Craig: (to Hamish) Hey, help me out here.

Hamish: (laughs) Well... I guess what it comes down to is, "I'm better off here."

Craig: Yeah, yeah. I guess so. I have a home... yeah, I do! Because there's probably no place better than home! (laughs)

—What about the lyrics of the last song on the album, "Spaceship"? That song can be seen as a farewell to your familiar home and family, right?　

Craig: Yeah. I'm getting on a spaceship and leaving home. But it's just a fairy tale, like I said before. In a way. Maybe in a real sense, it's like, "I'm leaving home." That might be a sad thing. In fact, the song sounds sad... and maybe it is. But it's just a story, I guess. Even if I felt that way myself, I'm exaggerating it more for the sake of the song.

—So, in that story, where does the spaceship go after the main character gets on board?　

Hamish: Well, space, I guess! (laughs)

Craig: Haha. Well, let's say...Blisstonia. Where there is more bliss. It's from "The Simpsons." There's a cult that says you can get on a spaceship to the planet Blisstonia... no, this is a terrible joke! (laughs) Sorry, I didn't mean that. Well, the spaceship... uh, I didn't think about it that much, just that it would take me there. Maybe it's another planet. Yeah. Maybe, like Hamish said, it's basically space. It's not Blisstonia (laughs). That was a made-up TV show.

—"Atmos," before "Spaceship," is another song that makes me think of space. It's like your consciousness is going to a place that is not Earth.

Craig: Yeah, I don't know if it's a coincidence or not. But it's definitely a spacey song, too. I feel that way too.

Hamish: You mean it's kind of escapism?　

Craig: Yeah, exactly! Escapism. Just a desire to get away from here, even a little. That song feels like flying through space.

—Would you say that escapism has always been an important element in The Vines' music? In the past and on this album as well.

Craig: Yeah, I think so. On this album, it's more obvious in the last two songs, but I think it's there throughout the album.

—And "Atmos" is also a love song, right?　

Craig: Yeah, I think so.

—Until now, you haven’t shown much interest in writing love songs, have you?

Craig: Yeah... but maybe there are some. I think "Mary Jane" is one of them.

—Yeah, that's true.

Craig: Yeah... but "Atmos" is a pretty straightforward love song, I guess.

—It feels like a confession of affection, while also expressing a desire to apologize and be forgiven.

Craig: Yeah, yeah. I think that's... that's a very good interpretation. I think that's spot on.

—You mean you might hurt her?

Craig: ...I don't know. I don't know about that.

—Do you think there was ever a time, not just in this song, that you were reminded that you might have hurt someone in the past?　

Craig: I don't know... but I don't think making music hurts anyone. Because music is meant to make people happy. I don't want to hurt anyone. I'm just letting out my feelings.

—You think that music will never hurt anyone?

Craig: Well... yeah, I know some people get hurt... but... no. No. I mean, yes (laughs).

Ryan: Sure, music can make people sad. Because some are happy, some are sad.

Craig: But nobody gets hurt. No one. I don't want anyone to get hurt. I really don't. I'm not trying to hurt anybody. It's just, you know, it's just music.

—So which song do you think is the most hopeful on the album?

Craig: I think it's "Candy Daze".

Ryan: Yeah, absolutely.

—It's a very mysterious song. Very abstract.

Craig: Yeah, it's supposed to be happy.

—I don't know what "Candy Daze" is. I imagined it as a warm place, or the sun, or something more vaguely positive.

Craig: Yeah, it was just a word in my head. I was playing guitar and it just came to me very spontaneously. And I thought it was very simple and uplifting. That's why I like it.

—There are 13 songs on this album, which one do you think is the most fairy tale-like?

Craig: I think it's "Spaceship". And, "Vision Valley".

—The landscapes and stories in that song are very magical. What was the inspiration for that song?　

Craig: Well... just being alone. It was in the afternoon as the sun was setting. I think it came from a pretty simple place.

—So, on the other hand, which song would you say is the most self-reflective and autobiographical?　

Craig: Hmmm... probably "Vision Valley". Or "Anysound". But really, the whole album... well, maybe half of it is autobiographical. At least half.

—Tell me a little bit about "Going Gone". Kurt Cobain once wrote a song for "In Utero" based on the actress Frances Farmer. Is there a real-life model for the character Anna in this song?

Craig: This is just a character I created.

—Okay, but it's a very tragic character.

Craig: Yeah, definitely.

—I wonder what image came to mind when you wrote down the phrase in this song, "Now nothing's gone to waste for sure"?

Craig: Well, I was thinking more like... I don't know, like a poem really. Leaving words in the bedroom... it just has a tragic feel, like you said. When I wrote that, I didn't really think about what the actual words were. Maybe... maybe it's symbolic in some way. Yeah, I guess so. I'm sure it says something very important.

—Right.

Craig: ...But beyond that, I don't know.

—(laughs) OK, so now for a slightly lighter question. What’s your favorite memory from the recording sessions?

Ryan: Hamish. Overall (laughs).

Craig: Haha!

Hamish: The funny thing was, Craig started playing a game. It's called "Ulah". (laughs) He would hide behind doors or curtains and wait for someone to come in and then jump out and shout, “Ulah!” (laughs) There was an assistant in the studio named Fay, and Craig hid behind the curtain. We’d say, “Fay, the headphones aren’t working! Come check it out!” Of course, there was no problem, but Craig would scare the hell out of her. It's childish, but it was funny.

—Haha. So, what was the most challenging part? What required the most effort?

Craig: When we wanted to record the vocals and I got sick. Yeah, that was a total pain in the ass.

Ryan: Other than that, it was pretty smooth. Other than the week when he got sick, it was a pretty easy session.

Hamish: Of course, there were the typical band arguments. (Producer) Wayne kept saying, "There's too much reverb in the vocals," and Craig was like, "No problem! More reverb!"

Craig: My overall vision of the album was more reverb (laughs).

Hamish: You know what I mean? Craig's favorite song is "Don't Listen to the Radio" and I think it turned out really well. Wayne likes to keep it very basic, but that's not The Vines' style. We like to have a lot of different instruments and reverbs.

Ryan: Well, the reverb is one of a million issues we argued about.

Craig: And delays too (laughs).

—(Laughs).

Hamish: For example, "Spaceship" has a crazy mandolin that sounds like a keyboard, right? There are some other unusual sounds in that song as well. Also, "Vision Valley" and "Going Gone" have strings for the first time.

—Right, it’s the first time you fully incorporated them.

Craig: Yeah. I've been wanting to try that for a while. I think it fits the song really well.

Hamish: Live, we have a very simple band style, but in the studio, we don't really have a garage band approach. It's more refined. Lots of vocals, harmonies, and instruments.

Craig: Yeah. We step out of garage and go more into the studio (laughs).

—What about the playability aspect? What parts were you looking to update or evolve?

Hamish: When we started making the demos, Craig said, "I want this album to be heavier." Actually, I think that's what we did. In a way, it's more of a rock album. I wanted to do a drum solo on this album, but Craig wouldn't let me.

Ryan: (laughs) Well, we always argue about drum solos.

Craig: Haha.

Hamish: No, it's not that I want to push my musicianship. In fact, especially when you get close to jazz or fusion, drummers in particular tend to show their ego. But instead, I listened to the producer’s opinion and kept it simple without overplaying the beat. Usually, that leads to the best results—doing what enhances the song without complicating it.

Ryan: It's the same thing with the guitars. It's actually pretty simple. It's just kind of circling around the melody. So the guitars... yeah, I just wanted it to sound sonic. It wasn’t something I overthought; the sound was pretty clear. We just followed what we rehearsed.

—Craig, what about you?　

Craig: I just wanted to make good songs. I also wanted to shorten the tracks and make them simpler. You know, I wanted the songs to get to the point quickly. It’s not that I don’t want long songs or that I want them to be short; that’s just how it turned out. Plus, I generally prefer songs that are about two minutes long rather than five. Those tend to work better for us. Most of the time, I have a pretty simple idea, and it doesn't take me long to get it across.

—I think that feeling may have come back to the "Get Free" days.

Craig: Yeah, I think so. We're getting back to a very simple songwriting style, because we tried so many different ideas on the second album. Of course, there are things we are trying on this album, but in the end, we thought, "Simple is better" (laughs).

—Is that something you learned from the previous album?　

Craig: No, I think it just means that we are more experienced.

Ryan: Whatever it was, there was no pressure this time. It was more of a casual approach.

Craig: Yeah, I felt the same way. But I didn't feel that much pressure on the last album either. I was happy and excited to be able to record again. I don't feel that much pressure when I make an album. I just concentrate on what I'm doing.

—So, did you listen to any other records during this recording?　

Craig: Um, what was I listening to? The White Stripes, The Strokes. I think I also listened to Richard Ashcroft’s new one a lot.

Hamish: What about Franz Ferdinand?　

Craig: Yeah, I listened to their stuff too. And Graham Coxon.

—Is it his new one? "Love Travels at Illegal Speeds"?　

Craig: Yeah, yeah, that's the one.

Hamish: I haven't heard that album yet.

Craig: It's great. "Happiness in Magazines" was also good, but both are so great that I can't compare them.

—Yeah, I heard the Arctic Monkeys say that they were really influenced by seeing The Vines live.

Craig: Yeah. I don't know the details, but I heard they were saying some good things about The Vines having a little influence on them. Of course, I don't think we created the Arctic Monkeys (laughs). But it would be a great honor if we really did influence them a little bit. Yeah, I think it's a good thing. In fact, I think they are a very great band.

—Have you heard their album yet?　

Craig: Yeah, I thought it was great.

Hamish: It's a great album. Maybe they’ll support us on tour, right? Well, it could go the other way too (laughs).

—Of course, they should support for you (laughs).

Hamish: Good point! Yes, they should support The Vines (laughs).

—Do you think positively about doing live shows?

Hamish: I think we will do it someday. I'd like to do it this year if possible. But I don't want to make any promises. I don't want to disappoint people.

—Fair enough. Craig, do you really want to perform live?

Craig: Yeah, sure. I'm looking forward to it.

—Two years is a long break.

Craig: Yeah, I miss it (laughs). It’s bound to be different this time. I want it to be more controlled, though.

—Haha, it's the opposite of the old days. You used to say that the uncontrollability was the best part of a live show.

Craig: Yeah, that's changing (laughs).

Hamish: It's past Vines. But you want it to be exciting, don't you?　

Craig: Of course it will be exciting, but I'm sure there will be more songs and we'll be able to perform better.

Ryan: In fact, I think our playing is better than ever now.

Craig: Yeah, I think it will be great to play new songs.

—Are there any songs from the past that you think have become a bit distant from where you are now?

Hamish: Maybe "Ms. Jackson" (by Outkast). That cover.

Craig: What? You don't want to do that song?　

Hamish: Well, we can do another cover.

Craig: Hmmm...I see.

Hamish: Are there any songs you’d want to play instead?　

Craig: No, I don't. I mean, come to think of it, we already have quite a lot of songs.

Hamish: We could make a good setlist.

—Yeah, we are really looking forward to it (laughs).

Craig: (thinks for a moment) ...But we'll do "Ms. Jackson".

Hamish: (sighs).

Craig: We'll do it! I'm sure Hamish would agree, because it's a really great song.

Hamish: That's true, but I feel like we've moved passed that song.

Craig: Then let’s do “Ms. Jackson” and also play the songs you want to do. I’m not thinking about other covers right now, but we will do “Ms. Jackson.”

—Haha.

Craig: We are definitely going to do it!

These were all the conversations we had over the course of two hours. And as they said, they have not yet announced any definite plans for their future activities. Even if they want to perform live, they have to start by looking for a new bassist first. But there’s no need to rush. Having produced this work, their time has begun to flow again. Yes, there is still plenty of time. They can move forward slowly and steadily. And in the future, "Vision Valley" will surely be remembered as a work of art that shines with new brilliance.