Following 2002’s “Highly Evolved,” The Vines were wrongfully tagged as followers of recent “The Band” trends — alongside right-place-right-time acts The Datsuns and The D4.

-The Strokes and The White Stripes both released follow-up albums in 2003, but between The Hives and The Mooney Suzuki, The Vines finalize the quintet of essential “The Bands.”

The Australian group’s second release, “Winning Days,” picks up where the commercially successful and critically underrated debut left off.

“Days” weaves psychedelia through the guise of modern garage. From the cover art similar to “Revolver” to recording at Bearsville Studio, which was founded by ‘70s iconic manager Albert Grossman, it is accentuated with historical subtleties.

Singer Craig Nicholls could be the lost Gallagher brother — prone to alcoholic debauchery in public yet still able to orchestrate beautifully textured ballads.

The most prolific example is the album’s namesake, when a bittersweet Nicholls toys with vocal melodies and acoustic layers to much avail.

The opener, “Ride,” uses the soft verse/loud chorus structure of prior singles. The mid-tempos of “Autumn Shade II” and “TV Pro” are smooth transitions from the murky “Animal Machine” and clamorous “Evil Town.” Regardless of the approach, Nicholls’ snarl is unmistakable.

Whereas many albums are front-loaded, “Days” saves its best material for the end. In addition to the title cut, “She’s Got Something To Say To Me,” “Rainfall” and “Sun Child” are undeniable rock gems.

Spacy jams cause “Winning Days” to lack focus at times — but 20/30 vision isn’t bad. Besides, glasses are in this spring.