THE PINEAPPLE THIEF

Ever since the inclusion of Gavin Harrison as the band's drummer (about a decade ago), The Pineapple Thief have been releasing stellar albums exploring the beauty in subtlety and fragility, as their music has come to define a diligently melancholic trend in progressive rock, always with that delightful art-rock edge, brought along by the great songwriting capabilities of Bruce Soord, and his frail, soothing and shyly narrative vocal delivery, akin to the singing voice of Steven Wilson, a musician close enough to The Pineapple Thief. This latest phase of theirs has seen them release the near-perfect sorrowful excursion that is 'Your Wilderness', the tense and melodic masterwork 'Dissolution' as well as the shaky and experimental 'Versions of the Truth' and the compilation of re-recorded tracks called 'Give It Back'. Within this block of work, 'It Leads to This' from 2024 sits as a further solidification of that recognizable PT sound - nostalgic and tranquil, with the feel of gentle desperation lost amongst the ghostly chords of the subtle verses, this latest album feels like an exercise in precision and self-affirmation.

Recorded by the four-piece band including Soord and Harrison, the primary songwriters and the people responsible for the sound, structure, direction and production of 'It Leads to This', we also have the talented bassist Jon Sykes, who does a great job overall, providing smooth grooves and palpable depth to many of the songs on here, together with keyboard player Steve Kitch, with his minimal and unobtrusive "interventions" with the keys, he is the man responsible for the caressing and at times even haunting atmosphere of the album, definitely occupying a Floydian position within the band at the moment. Unlike the last few albums, this release brings along an ostensible heaviness, which might remind some of 'Your Wilderness', an album similar in spirit and structure, and in-between the roaring riffs and the mathematical drum parts, the listener shall try to breathe in the nuanced moodiness of The Pineapple Thief, as expressed in great songs like 'Rubicon', 'The Frost', 'All That's Left', 'Now It's Yours' as well as the title track - a back-to-front great collection of songs that further solidify the band's status as the kings of art rock melancholy.

'Your Wilderness' from 2016 marks a general shift in the musical vocabulary of The Pineapple Thief, with the band experimenting with a silky-smooth production style and a rather minimalist alt-rock approach, developing a recognizable sound that borders on the acoustic, and centers around that elegiac, melancholic atmosphere that we have come to recognize the band for recently. This album also marks the first appearance of Gavin Harrison behind the drum kit, here only as a session musician, with other guests coming from Supertramp and Caravan and working on the clarinet and string arrangement parts of the album. This is an interesting album because it becomes so difficult to categorize it - the prevailing feel is that of melancholy, and the record is quite pensive and monotonous, gentle and atmospheric, almost to the point of having no recognizable or memorable melodies.

Undoubtedly the focus here is on the guitars, the drums and the vocals, and while some of the singing and the arrangements might seem infectious, beautiful and moving (don't forget about the scarce but acute use of the string arrangements as well as the punctuating Mellotron, which is to be heard on several occasions here), 'Your Wilderness' doesn't really deviate at all from the well-known formula of The Pineapple Thief, which kind of renders it less characteristic and less memorable. Yet this remains one of the band's more consistent and accessible albums, objectively considering its strengths, which is arguably why it has been seen as a general success. Notwithstanding, this record has given us some really fine songs, like the desperately astounding opener 'In Exile', the cryptic and semi-acoustic 'No Man's Land', the more eclectic and moodier 'Tear You Up' as well as the enjoyable numbers 'Take Your Shot' and 'Fend for Yourself'. All in all, an improvements in terms of songwriting, production and coherence compared to some of the preceding releases of the band is at place, which makes this an important step towards the magnificent work that is the near-perfect album 'Dissolution'.

Review originally posted at www.therocktologist.com

After having released a quite acclaimed (and great) album in the first months of 2024, The Pineapple Thief decided to rescue some interesting tracks that were created during those recording sessions, and in a wise movement, the band wanted to released them as an EP, that could either work as the complement of the full-length album, or as an individual.

Well, this is how 'Last to Run' saw the light last November, and yeah, it is worth listening and, of course, worth reviewing.

It is a five-piece extended play that give us almost 22 minutes of high-quality music, you know, sophisticated progressive rock with hints of alternative rock and why not, even metal and pop. Creativity has no boundaries for Soord, Sykes, Kitch and Harrison, so we, the listeners/fans, have to be thankful for it.

It opens with 'All Because of Me' which would be the single from this record. When you listen to these songs you might think "how come this track was not part of the long play" haha, but that's actually nice, because the band let us know they have a lot to offer. The song starts soft but there is a crescendo until it reaches the climax, which would be the chorus, the part you will memorize. A great guitar solo comes in the last minute, adding an exquisite taste to the adventure.

'Last to Run' has odd-time-signatures at the beginning, then it slows down and becomes quite calm, even mellow, but as you can expect, the song develops and sooner than later, explodes. Love both Harrison and Sykes drums and bass figures, always changing, always challenging, and always great. Soord's voice is delicious, I mean, it works as a guide, but also as a killer, because it can take you from here to there and provoke countless emotions. There is a great brief instrumental passage where tension is added. Wonderful song, I think people will love it, I certainly do.

Of course we all are surrounded by a political context, and the band knows it, so 'Election Day' might be a picture of these political times where we all are involved, no matter if we are from Great Britain, Slovenia, United States or Mexico. In the end we make choices every single day, and those choices create a vicious circle, impacting not only oneself, but all who surround us. Nice song, though I admit it is far from being my favorite from this release.

'The World To Me' is a nice track where catchy prog rock is delivered, with a great job by Kitch on synths who puts great nuances, sometimes as just background, sometimes as the main picture. The quality of the four musicians is undeniable, so it is normal that we, as listeners, receive music that satisfies our senses and make us have a good time.

Last but not least, the EP closes with 'No Friend of Mine, another short and catchy track, but once again, full of quality. It is all a matter of tastes, because though I don't embrace this as my favorite track, I am sure its charm will touch several listeners who will actually consider this one as their favorite. This is what happens when a band this big rescues music created in past sessions and deliver it as a present not only for us, but I think, also for themselves, because it is evident they are proud and comfortable with their work

THE PINEAPPLE THIEF, 12th EP from the sessions of the previous album.

"All Because of Me" with an air, a voice, a percussive rhythm, an alternative rock tone and a catchy chorus followed by a solo by Bruce, simple, effective. "Last to Run" for the haunting ballad that will deviate into a progressive space as only the thief knows how to do; proven art-rock atmosphere and climate. "Election Day" solemn piano for the latent air then rock soul, heavy with the typical riff; a sound that surfs on Steven WILSON and RADIOHEAD, an aerial break, the guitar launches into space, Floydian with a beautiful velvety synth. "The World to Me" Gavin's hit and Steve's new-wave synth for the rock air where the final keyboard in the distance reassures on the progressive side. "No Friend of Mine" nervous riff, expressive XTC tinkering, between rock and new-wave, pop and art-rock, the conglomerate leading back to prog.

THE PINEAPPLE THIEF, melodic prog rock for 5 session songs, refined with a direct, powerful sound and smooth vocals. 'It Leads to This' was short, these songs give the introspective transition. (3.5).

Fans of British band The Pineapple Thief can regularly enjoy the many interpretations of the progressive alternative rock that this company presents on its albums. The group around singer/guitarist Bruce Soord has already gone through a phase in which the songs were allowed to be longer, with even an epic here and there. The Pineapple Thief also had a period when things got a bit more intense. On 2014 "Magnolia" discussed here, the focus is emphatically on the short, more song-based material. Although we hear a somewhat lower prog content in twelve songs, "Magnolia" is extremely enjoyable and absolutely deserves the title of 'best Pineapple Thief album' that many attribute to it.

At times there is a wonderful explosiveness in the chords and usually a beautiful undercurrent of strings has been added. However, constantly there is this passionate bass playing by Jon Sykes that catches the eye/ear, Daniel Osborne's drums always give you the certainty that everything is going well on the record, just like the guitar and keyboard parts do and of course Soord glues everything strongly together with his melancholy voice. You can actually listen to the musical interpretations without any worries; it's the songs themselves that require most of your attention. There are supposedly twelve pieces and I'll be damned if you don't like any of them.

When you hear the intro to opener Simple As That, you would swear that you are listening to an Anathema album and that feeling never lets go throughout the entire CD. As the songs pass you by, names like Radiohead, Blackfield and Porcupine Tree are added. Despite the fact that these bands have been mentioned as comparison material for years, The Pineapple Thief certainly has its own face and this is clearly reflected in the great sound quality. The guitar extravaganza at the end of the monumental Alone At Sea really adds to this.

As a music fan, I am always looking for 'magic moments', moments that turn the world upside down. "Magnolia" is full of them. We encounter a beautiful one in Don't Tell Me when the strings make themselves heard and Soord plays a stunning guitar melody right across. The strength of the title track, driven by acoustic guitar, lies in its structure; in other words the combination of melody, rhythm and atmosphere is magical in itself. The same can also be said of The One You Left To Die, which competes for the title of 'highlight of the album'. Strong competition can be expected from the dynamic Sense Of Fear that has the intro of intros. What a truly great piece of music. The spicy Breathe also sounds as fresh as a cough drop. Quite a smart move on Soord's part, since "Magnolia" largely deals with modesty.

The album closes with Bond, a beautiful song where the sound of a trumpet refers to the triumphant feeling that "Magnolia" generates.

So the music is great and the sound quality is sublime; the cover art is even more beautiful. Is that possible at all?

Orginally posted on www.progenrock.com

"It Leads To This" is the latest THE PINEAPPLE THIEF offering released in 2024. This is a band who just has not stopped the last seven years, even during the pandemic they may have been the most active band out there. Their last album "Versions Of The Truth" was a solid record but I like this one better. It's so old school here for Bruce and the boys with all the tracks ranging between 4 1/2 to 6 minutes and almost all the music is mid-paced. But it's how they contrast sections and change things up that makes this work. Those trippy passages, the heaviness or the experimental bits all work as contrasts to the melodic and mostly mellow music provided here. I really like this record.

It's pretty cool in the liner notes to see seven pictures of what is supposed to be the same person from when he is a boy all the way to being an old man. A gradual process. This is such a consistent record maybe the most consistent of their whole catalogue. Picking a top three would be hard but the one song I seemed to resonate with the most was "All Thats Left" the way it starts out like a whisper to shouting as it were later on.

I have been on THE PINEAPPLE THIEF bus for almost 20 years. When Gavin came on board for the album "Your Wilderness" I think it was like catching lightning in a bottle. With Bruce's already emotional lyrics, then bringing in a world class drummer to the fold, well that first album with him will always be my favourite. The live tour that followed gave us "Where We Stood" a top three for me and again this is an inspired band right here saying look at us now! And how about the wordless vocals from Bruce so unique to those two albums. My top three would also include "Little Man" from 2006 which encapsulates all that went before with some of their best songs and emotion to burn here.

Yes time to get off the bus, it's time. I do recommend this one quite highly though if your already a fan.

Another great album from veteran prog band The Pineapple Thief lead by composer-gutarist-vocalist Bruce Soord, who have really been on a roll since the addition of drummer extraordaire Gavin Harrison (Porcupine Tree) in 2016. This new album is even stronger than their quite good previous couple albums, Giving it Back (2022) and Versions of the Truth (2020), but doesn't quite reach the pinnacle of Dissolution (2018), which I consider to be their masterwork. This album saw a closer working relationship between Bruce Soord and Gavin Harrison in crafting the songs for the album, actually writing together in the same studio for the first time. The album starts with Put it Right which sets the mood and atmosphere for the album with a soft understated cool, but dark vibe and develops into a slow boil throughout the song. But the album really takes off with the middle series of songs, starting with the title track and its blend of atmosphere, melody, and rhythms. The intensity builds with The Frost amid heavier riffs. Throughout, the understated vocals and melodies of Soord mixed with the dynamic drumming of Harrison, and the rhythms and riffs of the rest of the band create rich and satisfying soundscapes, even with the undercurrents of darkness and unease. This album is a real grower, in that it may not knock you out on first listen, but its subtleties and intricacies develop and is richly rewarding with repeated listens. The band seems even more of a cohesive coordinated unit than on previous albums creating a wonderful listening experience. My only mild criticisms would be that 1) it doesn't stray very far from what they've done previously, similar in style and substance (but so very well done), and 2) It just seems a bit too short (8 tracks, 40 min). It ends rather abruptly, and it just seems it could use one more song to round it out. All in all though, Another gem of an album. Best Tracks: It Leads to This, Every Trace of Us, All That's Left, The Frost, To Forget. Rating: 4 stars

A highly anticipated record from the start of 2024, here is The Pineapple Thief back with 'It Leads To This'. So "what does this lead to?" Even if three years were necessary for the conception of this record, we cannot say that the members of the group were really idle during this period: for example, Bruce Soord (singer, guitarist) released his solo album 'Luminescence' last year, and Gavin Harrison (drums) was a little busy with another of his bands: Porcupine Tree . We are also entitled to wonder if the latter, since his arrival behind the drums, has not in some way become the star of the group, as his type of playing and his mastery of the instrument seem to put all the emphasis on world okay. Listening to 'It Leads To This', he captivates again, not because he takes all the light, but on the contrary by his very intelligent way of putting himself at the service of the compositions and the interpretation of the band. It is therefore as a true ensemble, where everyone takes part in the construction of the work, that we find The Pineapple Thief for a "collected" album made up of 8 tracks, lasting just over 40 minutes, and where precision is not (once again) lacking.

The album starts gently with "Put It Right", a melancholy track based on piano accompaniment highlighted by a superb drum groove. The title does not hesitate to leave space, takes its time, breathes, and this will be the case for other pieces throughout the album. And of course the production is 5 stars, each instrument, each intervention finds its place perfectly in a clear mix.

The sound hardens slightly with "Rubicon" where the guitars are out. And it is again the rhythmic changes printed by the drums which give a beautiful dynamic to the piece.

A great bass line supports the song "It Leads To This" throughout its duration, including during the excellent chorus. It's one of the most interesting tracks on the album which manages to combine a certain requirement in terms of implementation and a catchy melody.

Another single, "The Frost" seems to be more direct, more Rock? until you listen to the verses where the odd rhythm is crazy, before a chorus that immediately grabs the ear.

Return of this melancholy draped in high quality instrumentation, so characteristic of the group, on "All That's Left". Then a seemingly simple plan on acoustic guitar launches a more furious passage that is rather unexpected. This is one of Pineapple Thief 's strengths: managing to vary the atmospheres within the same title by playing with volume, sounds, silences.

These chords on the piano and this drum rhythm on "Now It's Yours" recall the Bowie of "Five Years". One of the most emotionally charged pieces on the record with sublime arrangements.

At the risk of repeating myself, what a drum groove again on "Every Trace Of Us"! This one is also marked by an interesting harmony on the chorus, the doubling of voices, a particularly aggressive bass, a bridge/solo of guitar and keyboards.

A beautiful acoustic guitar arpeggio opens the last track "To Forget", where Bruce Soord 's voice travels high to better support a beautiful emotion, and where the arrangements / mixing / interpretation combo once again reaches heights.

It's possible to criticize 'It Leads To This' for a lack of risk-taking, orchestral ambition or complete twist. No long epic here, nor any extended solos or barely contained rage. No, Pineapple Thief maintains a classy grace by bringing a care to his compositions that few artists are capable of achieving. The group masters its element, forging a mixture of complexity (rhythmic in particular) and quite admirable melodic purity. A falsely calm force in a way.

Review originally posted on www.progcritique.com.

After the uneven "Versions of the Truth", progressive veterans The Pinneaple Thief have returned with an album worthy of their legend!

Once again released by Kscope and produced by the group itself, this time they bring us an album that follows in the somewhat more direct and hooky wake of "Dissolution", and that although it does not reach the quality of this one, it does manage to offer a resounding album, very well composed and in which almost nothing is left over or missing.

As always, highlight the enormous work of Gavin Harrison on the drums, perhaps a little more restrained but just as effective, and the addition of Beren Matthews on the guitars, who is a very talented guitarist who has also accompanied them on tour for a few years now, and who can almost be considered the fifth member of the group.

So if you somehow lost faith in The Pinneaple Thief with "Versions of the Truth", I invite you to listen to "It Leads to This", because without a doubt it is going to become one of the best British progressive albums of 2024.

Best Tracks: Put It Right (I love the interlude of the song, which almost reminds me of Massive Attack), It Leads to This (a song with a lot of hook), The Frost (intimate and intense, pure The Pinneaple Thief), Now It's Yours (the slowest song on the album, but also one of the best) and Every Trace of Us (my personal favorite on the album, very intense and with an amazing instrumental section)

My Rating: ****

Their most mature album yet being a nice step foward from their previous effort. Gavin is excellent as expected, but it's great to see more presence from the other band members as well: Keyboards are more present especially in "Put It Right" and "Now It's Yours". Bruce this time focused more in lead guitar which gives us lots of nice chops and solos using his characteristic tone and you'll find some great bass grooves as well (such as in "All that's left").

If "Versions of the truth" was a mellower and more compact version of the band, this one, despite being a shorter effort, has more intensity and more elaborated tracks, although still no epics this time.