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WHAT WE HAVE SOWN

Pineapple Thief

Crossover Prog


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Pineapple Thief What We Have Sown album cover
3.90 | 195 ratings | 10 reviews | 34% 5 stars

Excellent addition to any
prog rock music collection


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Studio Album, released in 2007

Songs / Tracks Listing

1. All You Need To Know (4:19)
2. Well I Think Thats What You Said (5:24)
3. Take Me With You (5:07)
4. West Winds (8:52)
5. Deep Blue World (6:08)
6. What We Have Sown (27:33)

Total Time: 57:23

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Bruce Soord / vocals, guitar
- Wayne Higgins / guitar
- Steve Kitch / keyboards
- Jon Sykes / bass
- Keith Harrison / drums

Releases information

CD Cyclops Records (2007)

Thanks to ProgLucky for the addition
and to ProgLucky for the last updates
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PINEAPPLE THIEF What We Have Sown ratings distribution


3.90
(195 ratings)
Essential: a masterpiece of progressive rock music(34%)
34%
Excellent addition to any prog rock music collection(40%)
40%
Good, but non-essential (20%)
20%
Collectors/fans only (5%)
5%
Poor. Only for completionists (1%)
1%

PINEAPPLE THIEF What We Have Sown reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by ProgLucky
FORUM & SITE ADMIN GROUP The Founder of Progarchives.com
4 stars From the Cyclops web site

"Cyclops are proud to present the sixth studio album from The PINEAPPLE THIEF. The first five tracks are a stunning set of songs that prove the quality of the writing of the main songwriter Bruce Soord, who also gives us more displays of his guitar work.

The 27 minute tour de force track "What We Have Sown" is something a little different for the group. Built around a beautiful main song, this shows the group in its more adventurous mode with terrific drum work and fluid guitar solos. lovely keyboard work is then woven into the instrumental sections together with spiralling guitar themes that ebb and flow to become one of the finest PINEAPPLE THIEF tracks to date.

We think this is their best album so far and one that will add to the reputation that this band has built up over the last five years and sure to increase their ever expanding legion of devoted fans "

Can be ordered at www.gft-cyclops.co.uk or www.pineapplethief.com due out in October 2007.

Review by Zitro
PROG REVIEWER
3 stars What We Have Sown is a very pleasant alternative rock album with folk and progressive rock elements. The music features generally easy melodies, prominent acoustic guitars, electric guitars, complementary keyboards and mellotron, and a relatively restrained rhythm section that works relatively well without being flashy. The instruments do not stand out most of the time as the vocals tend to be the dominating force in this album's shorter tracks.

I think I would describe the music as an alternate version of Radiohead. Some of the band's elements are here: the vocals sound like Yorke, the ballads sound familiar if you heard Radiohead, there is a bit of electronics, and melancholia is all over the album, even if it is nowhere as depressing as the Art Rock giants.

The album begins with the solid Radiohead-influenced All You Need to Know which features mellotron. Afterwards, the clear highlight Well, I Think That's What You Said will most likely surprise the listener with the excellent instrumental arrangements and fantastic choruses. West Winds is a subdued instrumental that has great textures and grows into a more intense section. the long title track is a quite good song, but hard to digest as it's almost thirty minutes of low to mid-tempo music. It's a nice song with some outstanding electric guitar leads in minute 4 and 10 but I generally lose interest over the second half, despite some clever chord progressions scattered throughout. I prefer Remember Us from the progarchives sample by a wide margin.

Overall, this is a good album and few would regret buying it. Pleasant, accessible, melancholic and dreamy.

Review by Mellotron Storm
PROG REVIEWER
4 stars I've been a fan of this band from the beginning and have often felt like a lone wolf on this site crying out their praises. So it's almost shocking to see 45 ratings already for this cd, and with them signing to a bigger label (Snapper) the future looks bright for Bruce and the boys. It doesn't hurt either to have Steven Wilson recommend this album does it ? Bruce sent Steven a copy of this cd before it was released moving Wilson to recommend to Snapper that they sign this band.

"All You Need To Know" opens with mellotron-like waves as strummed guitar and vocals arrive. Drums 1 1/2 minutes in as the sound gets louder. A minute later the electric guitar sounds fantastic as mellotron-like sounds and drums continue. I fell for this song the first time I heard it. "Well, I Think That's What You Said ?" opens with a percussion / violin melody. Vocals are Yorke-like as they arrive a minute in. Guitar 2 minutes in.The drums take over 4 minutes in, and then it ends experimentally. Great track ! "Take Me With You" opens with drums, synths and violin as mournful vocals come in again sounding like Yorke. Guitar 2 1/2 minutes in match the vocals. A spacey interlude 4 minutes in before Bruce comes back vocally with more passion.

"West Winds" opens with spacey sounds. The song gets some structure 2 minutes in as drums and guitar create a slow paced melody. The drums take the lead and dominate 5 1/2 minutes in. Some aggressive guitar joins in over a minute later as it gets intense. It becomes pastoral 8 minutes in to the end. "Deep Blue World" in my mind is a tribute to Bruce's "little man", making it a very emotional track to say the least. Strummed guitar, violin and reserved vocals lead the way, drums come later. Remarkable song. "What We Have Sown" is the over 27 minute finale. It opens with echoes. Yes it does sound like the PINK FLOYD song of the same name. That changes a minute in when heavy drums and a full sound arrive. Cool guitar melody before 3 minutes. A calm 4 1/2 minutes in as echoes are back. Piano a minute later and then waves of synths 6 minutes in with light drums. Vocals for first time 6 1/2 minutes in. This continues until mournful guitar melodies come in before 11 minutes. Piano takes the lead 12 1/2 minutes in before electronics arrive. Drums 15 minutes in as it's building, now guitar is added. Guitar becomes very passionate. Piano and electronics take over again before 20 minutes and drums come in a minute later. Processed vocals after 21 1/2 minutes are brief, although they return again briefly 2 minutes later. A hypnotic beat with electronics continues until the song is over.

Funny but my favourite songs are the 4 shortest tracks on here. Maybe that's because they're more like PINEAPPLE THIEF of old, I don't know. Still this is a solid 4 star album but not one of my favourites from the band.

Review by ZowieZiggy
PROG REVIEWER
3 stars There is nothing revolutionary in this PT album: their music is elegant, accessible, melancholic and nicely formatted. Fine melodies with some nice mellotron and guitar work in the opener "All You Need To Know" which is quite a good start to be honest.

The traditional recipes are served back with enforcement ("I Think That's What You Said") and offers little to be surprised. Again, what I like the most (but is this a surprise?) are the fine mellotron lines which provides a feel from the Scandinavian scene. A good idea, even if used scarcely ("Take Me With You").

This conventional PT album would have been better with some more punch. The long instrumental "West Winds" is rather insignificant and its only purpose was to fill the CD I guess.

All expectations are thrown into the epic and title song, but here again no wonder appears. Just a long and gloomy affair. Of course, this piece do have good qualities (the traditional PT or "Radiohead" ones) but I was waiting for some more to be true. Languishing drum play throughout, pleasant keys and invading screaming guitar are the best ingredients.

PT is not a band that surprises (at least I feel so). They are predictable, but lots of bands are, so I won't be too destructive about this criteria. In all, this album is enjoyable and deserves the three star rating without any doubt. It means that I believe that it is a good album. But not an essential one.

Review by ProgShine
COLLABORATOR Errors & Omissions Team
2 stars Pineapple Thief comes in that 'new wave' of Progressive Rock that is not Progressive Rock if you know what I mean. I am not really talking about the 70's kind of Prog. I'm talking about not being an Alternative Rock band with lots of Ambient music and many 'plims and ploims' electronic kind of thing. If you like, that's fine for me, but I just can't like it and I'll not force myself into it anymore.

In What We Have Sown (2007) I couldn't find anything special. I couldn't find any memorable song or even daring.

There's a phrase that stuck on my mind while listening, and that's what I have to offer about this album: "Just a cover from Radiohead recorded 10 years after the original".

Review by tszirmay
SPECIAL COLLABORATOR Crossover Team
5 stars Vulgar Unicorn was a delightfully crafty and original British group that released a slew of albums between 1995 and 2004 that subsequently vanished into the ether. Headed by multi-instrumentalists Bruce 'Adrian' Soord and Neil Randall , their craft was quite quirky and oft misunderstood by the general prog public but upon closer analysis, records such as 'Jet Set Radio', 'Sleep With the Fishes' and their debut 'Under the Umbrella' were quite ground breaking and often loads of fun. Then, one fine day in 2002, Soord decided to kick off his Pineapple Thief career with the delectable 'Abducting the Unicorn', a rather accurate and seemingly acerbic title in view of the upcoming split between the two VU leaders. I personally love that album a great deal, owning a different sound but still infused with VU cleverness and wit. Unfortunately, for unknown reasons, I never could get into 'Variations on A Dream' and have struggled on every revisit ever since, it just won't stick! So I did something quite stupid in retrospect, I gave up on the 'Fruity Robber' and looked elsewhere, in apparent disinterest. I saw the reviews of all their other albums, all this mention of Radiohead and Muse (2 bands I have only cursory knowledge of, as I have not listened to garbage commercial radio for a quarter of a century now!) but nothing could quite enthuse me enough to investigate further. Big mistake, as my recent purchase of a used copy of 'What Have we Sown' penetrated my car stereo with almost palpable ennui and having zero expectations, I was simply bowled over! While certainly more mainstream-oriented than the often odd-ball VU releases, the material nevertheless possesses a smooth and moody yet propulsive quality which my somnolent sensors picked up immediately and I started to fall under the spell of superb melodies, passionate vocals that do remind me of Thom Yorke (I do know what he sounds like) or whichever Gallagher (Liam or Noel, me not know) but also some tremendous bass (Jon Sykes) and fabulous drum support (Keith Harrison) that caught my attention in a great way. The keyboard applications from Steve Kitch are slick, unobtrusive and very modern with oodles of mellotron samples, which will always make my day brighter. That being said, the dual guitars of Wayne Higgins and the master himself (always an outstanding fret boardist) is quite the revelation and propels the arrangements with verve and gusto.

The finale title track is tectonic slab of an epic, clocking in at over 27 minutes and while quite mellow in most parts, the contrasts are always challenging and 'staying on ones toes'-worthy, stretching the sonic envelope and searching out further playing fields. The entire spectrum of emotions are canvased on a rather large screen that never exasperates or even hints at the slightest tinge of boredom, even though things get very mellow and Floydian at times, which is why I refer to this as a worthy modern-day version of 'Echoes'. Lots of moody electronic beeping, robotic sizzles and a massive drum beat really set the pace, evolving, growing, expanding like some experiment gone haywire, very intoxicating indeed. The nasty e-guitar has a sharp metallic tinge, like some chainsaw gone amok, full of effects and mood tones. Haunting and macabre, the atmosphere is frightening at times, stretching the angst until some sinuous vocal-fueled reprieve shows its sweetness where Bruce's voice is eerily reminiscent of Xavier Phideaux, in a most uncanny way. The recurring chorus is addictive to the nth degree, soothing yet disturbing, loaded with overt regret and unmitigated pain. The soaring guitar solo is staggering in its unassuming beauty, insistent and aching, an iconic blast of genius. Steve Kitch then introduces a piano to his already imposing arsenal of ivories and the spellbinding splurge is equally sensational. This is where the slick arrangement takes on mythical proportions, getting very explosive and aggressive, sequencers ablaze with frenzy, the bass guitar up-front and center, carving out a highway to hell on which all instrumental vehicles will follow, chiming 'rifferama' guitars and mind-numbing pounding from the drum kit. Ka-boom! The sonic slow-building crescendo is a piece of art that cannot leave anyone blase! Resourceful synthesizer detailings are added to continually elevate the piece to loftier heights, progressively becoming even more bombastic and uber-symphonic. The gut-wrenching final delivery may also nod towards bands like Anathema, certainly vocally and that steam-roller guitar assault that the Cavanaugh brothers seem to favor. One of the finest epic prog tracks in the 21st Century.

The mightily inspirational and totally proggy 'West Winds' is the other real highlight here, a meticulously sounding hodgepodge of sound textures that induce fantastic images and a sense of musical accomplishment. Entirely instrumental, the piece attempts and succeeds in stamping prog credentials with a zeal that goes beyond the norm. Choppy guitar spasms, torrential synth cubes, sustained notes that glide through the ether, the level of creative genius is just stunning, Morse code synth blurbs, echoed piano, monstrous bass and primeval drum fills all in perfect harmony, preparing the spotlight for some serious guitar acrobatics, rhythm and lead trading shots with brash boldness. Harrison then launches on a tectonic drum volley that is most heavy and doom-laden, spooky keys in tow. A magnificent and modern piece of music that defies description.

The album starts off with some shorter pieces that offer great melodies, powerful guitar barrages and accomplished singing, all held together by some tough bass and drum propulsion. Each piece has a ton of little details that caught me off guard on a constant basis, a propensity to flirting, cajoling and enticing my brain with bejeweled brilliance. 'All You Need to Know' begins immediately with smooth mellotron waves and a spot-on vocal full of trembling emotion and unabashed sincerity ('I never want to know what you mean me'), that grabs hold of your ears and mind and refuses to let go. The arrangement then explodes into this effortless mood, pushed by a simple bass and drum combination, a stinging guitar solo, first oozy and then woozy but short and sweet. Intelligent prog-pop, exquisitely delivered and totally addictive.

The swooning, almost Hindu-tinged 'Well, I Think That's What You Said?' is another heavenly voiced tune, with angelic chorus on one end and some rock-hard driving rhythmic patterns giving this some backbone, a soft-hard rock ballad of the finest ilk, brooding mellotron not far from the edge. The buzzing guitar attack is slashed by repeated zipper-like swaths of synth and various effects that would make vintage Brian Eno proud.

While 'Take Me With You' has a vocal that will undress any indifference, truth is the song is catchy and hummable, basking in outright proggy clothing as the smoking mellotron blasts away, unhinged. Clanging guitars, moody and spectral keyboards, nasty bass ruffle and muscular drums finish the wardrobe. The 'You're the next one to go, take me with you' line is a soporific entreaty that sears the mind into submission, a wholly seductive package and unreservedly convincing. The mid-section gets into some heavy psychedelics, fluffy clouds of sound before the fury erupts and starts the ravaging entire process, I mean =WOW!

Finally, the highly melancholic 'Deep Blue World' is lush with orchestral accouterments, acoustic guitar shuffling the sweet and yet pained voice of Bruce Soord and a practically pastoral sheen, as if the gallant sun was shining though the curtains, warming the heart and comforting the soul. The vocal is truly divine. Harrison shows his mettle with some complex percussives as the heady mellotron squalls kick in.

My copy has two bonus tracks that are welcome additions to the set list, a mesmerizing and unexpected surprise of the highest order. If U2 would have progressed into a progressive band, this is probably how they would have sounded, Bruce Soord is a very talented singer, guitarist and composer. What a fabulous recording, I think I am going to steal some more exotic fruit and pineapples.

5 Occidental gales

Latest members reviews

5 stars What We Have Sown is a fantastic album. First off, you get an album that ends with "What Have We Sown?" as a 28 minute epic of progressive rock heaven. I must have two bonus tracks with track 7 "You Sign Out" and track 8 with "Before It Costs Us." While the epic ending is great, these two extra ... (read more)

Report this review (#1642415) | Posted by javajeff | Monday, November 14, 2016 | Review Permanlink

3 stars While far from a perfect prog disk, there's lots to recommend in this sixth release by Pineapple Thief. Nice Mellotron samples, a contemporary edge to the writing and melodic guitar solos. If you dig Porcupine Tree or Radiohead appeals to you - Then this disk will certainly fulfill your musical ... (read more)

Report this review (#229057) | Posted by TronFlutes | Thursday, July 30, 2009 | Review Permanlink

5 stars This album is stunning. There is no other word for it. For me, it represents the progressive rock of the 21st century. There is not a weak track on the album and the whole thing just flows more smoothly than a pint of Guinness. The album is genuinely more 'progressive' than recent offeri ... (read more)

Report this review (#148490) | Posted by progadder | Thursday, November 1, 2007 | Review Permanlink

5 stars Very different from the previous album little man, which I found a bit too unhappy and unenergetic to enjoy. The Instrumental West Winds is for me the highlight, but I really enjoyed the whole album. My only complaint with this band is the lack of singing in the longest song- It could have done ... (read more)

Report this review (#148427) | Posted by Brutha2 | Thursday, November 1, 2007 | Review Permanlink

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