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THE PINEAPPLE THIEF

Crossover Prog • United Kingdom


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The Pineapple Thief picture
The Pineapple Thief biography
Founded in Yeovil, Somerset, UK in 1999

The guitarist of VULGAR UNICORN starts his solo career with this band, which is inspired as much by PORCUPINE TREE as by his old group. PINEAPPLE THIEF has a mix of prog with some space rock. Balance, beauty, and modernity are all to be found in the plush sounds of PINEAPPLE THIEF ... great melodies, songs and plenty of atmospheres. This band will appeal to fans of RADIOHEAD, but other occasional influences show through that are less obvious but apparent (PINK FLOYD, U2, OZRICS and KING CRIMSON).

With their second release, PINEAPPLE THIEF (PTh for short) have reached a state of grace with their frenzy guitar drawings and acoustic sets, using Mellotron to the better effect without ever sounding retro. Indeed, and more than with the two previous albums from PINEAPPLE THIEF, "Variations on a Dream" is brimming over with its creator's talent and is impressive with its incredible commercial potential. Thus, PTh has elaborated a "double layer album", in which the prog fan will enjoy the fine-tuned production and the arrangements, while the pop rock lovers will be delighted with accessible and addictive songs. This is the type of CD that one plays over again as soon as it ends. A little miracle of balance, and a place in my Top 5 for 2003.

Highly Recommended..!

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THE PINEAPPLE THIEF discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

THE PINEAPPLE THIEF top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.43 | 71 ratings
Abducting The Unicorn [Aka: Abducted At Birth]
1999
3.25 | 77 ratings
137 [Aka: One Three Seven]
2002
3.22 | 140 ratings
Variations On A Dream
2003
2.41 | 47 ratings
12 Stories Down
2004
3.32 | 92 ratings
10 Stories Down
2005
3.76 | 146 ratings
Little Man
2006
3.85 | 216 ratings
What We Have Sown
2007
3.63 | 193 ratings
Tightly Unwound
2008
3.57 | 243 ratings
Someone Here Is Missing
2010
3.63 | 165 ratings
All The Wars
2012
3.61 | 140 ratings
Magnolia
2014
3.92 | 224 ratings
Your Wilderness
2016
4.09 | 62 ratings
Dissolution
2018

THE PINEAPPLE THIEF Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 5 ratings
Live 2003
2003
3.59 | 14 ratings
Someone Here Is Live
2010
4.36 | 12 ratings
Live At The 013
2013
4.10 | 10 ratings
Live 2014
2015
3.73 | 24 ratings
Where We Stood
2017

THE PINEAPPLE THIEF Videos (DVD, Blu-ray, VHS etc)

THE PINEAPPLE THIEF Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.93 | 48 ratings
3000 Days
2009
3.27 | 7 ratings
Introducing ...The Pineapple Thief
2014

THE PINEAPPLE THIEF Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

5.00 | 1 ratings
Sherbet Gods
2000
3.84 | 10 ratings
4 Stories Down
2005
5.00 | 1 ratings
Limited Edition Free CD
2006
4.20 | 15 ratings
Shoot first
2008
3.92 | 29 ratings
The Dawn Raids (Part 1)
2009
3.87 | 26 ratings
The Dawn Raids (Part Two)
2009
3.72 | 18 ratings
Show A Little Love
2010
4.75 | 4 ratings
Nothing At Best
2010
4.00 | 21 ratings
Build A World
2013

THE PINEAPPLE THIEF Reviews


Showing last 10 reviews only
 Dissolution by PINEAPPLE THIEF, THE album cover Studio Album, 2018
4.09 | 62 ratings

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Dissolution
The Pineapple Thief Crossover Prog

Review by Menswear
Prog Reviewer

4 stars The hottest band on the market?

Yes.

Pineapple Thief grew a ton of hair since Gavin Harrison joined. No more peachfuzz, the music is now a muscular but very gracious adult. Like Porl Thomson, Dave Grohl or Ian Mosley , Harrison is now 'THE drummer' that elevated a band to something better, higher or steadier. Although he's never overdoing it, his mind-boggling beats (and melodies?) are giving the band an aura of true perfectionism, something sleek and chic, that elevates everything and making it classy.

The recipe is quite similar to their 'Wilderness' album, don't expect any changes: more imploding than Porcupine Tree but still rumbling with anger at times. I like when the band is leashing out crunchier moments, unfortunately rarer on this cookie. PTh is good at what Porcupine Tree started and perfected until The Incident (that sucked the big one). On the other side, PTh is giving you a good following to that pattern but only with more eerie/spooky factor perhaps? The more you listen, the more you realize you're facing an hybrid beast: half-past, half-future but completely charming.

Whatever floats your goat, Dissolution is giving you a great time, no doubt about it. Closer to a pop album than a prog, it's short, goes to the point and cut off all the baloney elements of longer albums (*ahem* Roine Stolt). Are you tired of interminable records of 74 minutes? I sure am. Something epurated like this album is oxygen for your brain and won't test your patience. If they keep up like that, they will give birth to a mammoth of good taste and self-mastery. They are THAT close.

Who said shorter albums are because of the lack of inspiration? Not this case here!

 Dissolution by PINEAPPLE THIEF, THE album cover Studio Album, 2018
4.09 | 62 ratings

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Dissolution
The Pineapple Thief Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Bruce Sword and company have collected a very well-recorded and rendered group of more Indie or pop rock- oriented songs for this 2018 release. Nice contributions from Gavin Harrison and David Torn.

1. "Not Naming Any Names" (2:05) a brilliantly sedate and spacious opener with Bruce singing over piano in such a soft, emotional voice. A top three song for me. (4.5/5)

2. "Try As I Might" (4:26) clear, clean guitar-based rock with the always-welcome drumming of Gavin Harrison. There are several PT/Steven Wilson-like moments or nuances, but over all it's a very good song. Slide guitar used for the solo instrument in the "C" part. (8.5/10)

3. "Threatening War" (6:37) singing in a little higher register, Bruce leads us into another more delicate, sensitive story. He gets more aggressive as the music drops out and leaves only an acoustic guitar, but then the full band kicks in with a straightforward rocker for the chorus. The "C" part on this song is where everything interesting happens: guitar harmonics, subtle drumming flourishes, etc., but it's too short. Then it kicks back into the chorus section before finishing out with the final verse and chorus. (8.25/10)

4. "Uncovering Your Tracks" (4:29) interesting Peter Gabriel-like foundational weave sets up before Bruce sings in an almost-talking voice. The chorus is amped up by strumming acoustic guitars and a few electric guitar chords. This presence of a raunchy electric guitar gives the song a kind of Steven Wilson feel to it--especially as the vocal has gone this way--while the ensuing guitar also has a frenetic squeal tone not unlike upcoming song guest David Torn. Not enough variation and diversity to make this one really stand out. (8.5/10)

5. "All That You've Got" (3:27) rock 'n' roll with an indie feel. Indistinct and nondescript save for the awesome guitar solo in the third minute. (8.25/10)

6. "Far Below" (4:36) opens with a little "Thunder Island" feel--and this remains the dominant chord and guitar approach throughout this rockin' song. Unfortunately, it gets a little monotonous. (8/10)

7. "Pillar of Salt" (1:25) A non-descript song. Too bad I don't hear lyrics. (3.5/5)

8. "White Mist" (11:05) the length of this song allows for some nice sound experimentations from several contributors, David Torn being the primary source. Gavin's work is so solid, like the spine of a vertebrate. But the song never really digs in, never digs deep enough to engage me into a head-banging, foot-stomping, air-guitar strumming experience (though Harrison and Torn's interplay in the seventh and eighth minutes is pretty darn awesome!). After the 8:20 mark there is an awesome section of keys and drums before Bruce rejoins with his singing--which is then followed by some stunning guitar shredding by Torn. The second best song on the album. (8.75/10)

9. "Shed a Light" (5:20) sparse acoustic guitar play with delicate vocal opens this song. When the full band joins in it has a kind of twangy folk-pop sound to it not unlike a Ben Watt/Everything But The Girl song. Odd guitar strumming precedes a very cool heavier guitar and keyboard-based chord ascension before we mysteriously (and disappointingly) return to the sparse opening style and sound (with drums and simple bass). The wide and dramatic dynamic shifts of this song do make it interesting and the chord progressions and vocal melodies are the best on the album. (9/10)

Though Gavin Harrison's presence is heard, it's not really felt as none of these songs really explores or experiments much with standardized forms or sounds. This is a rock album; the band's least proggy album yet.

Four stars; a nice addition to any prog lover's music collection.

 Dissolution by PINEAPPLE THIEF, THE album cover Studio Album, 2018
4.09 | 62 ratings

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Dissolution
The Pineapple Thief Crossover Prog

Review by rdtprog
Special Collaborator Metal / Heavy / RPI / Symph Prog Team

4 stars Here's a new chapter in the world of Pineapple Theif with an album that is co-written by Bruce and Gavin Harrison, the new member of the band. The album is more of a group effort then Bruce's music. The themes of the album are rather dark because it talks about the destruction of society through social media and technology as a new way to spread out violence. The music on this album is less electronic and metal than his previous material. While the acoustic side of the band has been always present, it has never been so obvious here. The melodies are gorgeous, and then the voice of Bruce never been so good. The album starts quietly but it takes a heavier note with the beautiful song "Threatening War". The sudden burst of guitar metal riffs in the Porcupine Tree style are almost gone here with some delicate melodies that takes a lot of acoustic sounds even with some delicate drums of Gavin. "All That You've Got" is a song that could be a single in the future. "Shed a Light" starts as an acoustic song and the rest is some improvisation from Gavin Harrison. "White Mist" is another good song that displays some nice guitar melodies with the addition of guitarist David Torn. My only criticism is on the more conventional style of music in the songs "Uncovering Your Tracks" and "Far Below" I recommend buying the special edition to hear the acoustic album with the songs running in a different order and with the guitar of Goerge Marios. But also to have both versions of the album in surround.
 What We Have Sown by PINEAPPLE THIEF, THE album cover Studio Album, 2007
3.85 | 216 ratings

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What We Have Sown
The Pineapple Thief Crossover Prog

Review by TCat
Prog Reviewer

3 stars The Pineapple Thief's sixth album "What We Have Sown", while considered a regular album, is also made up of songs from different periods in the band's history. It was recorded during the recording of "Tightly Unwound" over an 8 week period. The first three tracks are outtakes from other albums.

"All You Need to Know" is from the "10 Stories Down" sessions. It is pretty much a basic Pineapple Thief track, nothing amazing about it, just basic. "Well, That's What I Think You Said" has a mid-eastern hook played by a violin a the beginning, and is a much better song. It has a "Radiohead" vibe to it. In it's short 5 minute span, it goes from mid tempo, to minimalism, to very upbeat at the end. The same vibe is there for the next track also, "Take Me With You" is a more laid back, mysterious song with some atmospheric guitar. Bruce Soord does a decent Thom Yorke impression in both tracks.

"West Winds" is an instrumental track. We finally get a track that nears the 9 minute mark here as everything prior to this was around 5 minutes. It starts out in a subdued manner with echoing guitars swirling around. Everytime you think things are going to pick up, they end up leading up to a false climax or it doesn't last very long. Not much to get excited about here. "Deep Blue World" continues with the Thom Yorke impression in the vocals and a strumming acoustic guitar, but the strings added in here are a nice touch. Not a bad song with a nice lushness to it, but up to this point, there really isn't anything that's very progressive to get excited about yet.

So, the last track has some promise since it is a 27 minute song called "What We Have Sown?" In the first 5 minutes it changes from spacey, to intense, back to atmospheric again. There are some nice sounds here, and that's before the vocals come in. The beat is rather slow and laid back with Bruce's nice voice pushing things along. There is a "whining" sound that almost sounds like a saw which gives some good atmosphere. Without much change in the first 10 minutes, things just seem to plod along however, no matter how nice it is, it would be good to have some more emotion and mood swings added in. After this, there is a nice guitar solo though, but the beat stays the same. The beat and everything else falls off and there is an ambient section with a low, thumping "electronic" feel, and synths start to add texture. A synthesized percussive sound starts and persists for a while. Finally, at 15 minutes we get some intensity when we get some fuzzy guitar added in and some counter melodies start to take shape. Now it's getting interesting. What's this? Another great guitar solo with supporting keys that almost make things sound industrial. Nice touch. Things reach full intensity when we break out of this at 19 minutes and we are back to ambience again. There are some nice effects against a mid tempo beat, then we get some processed vocals. There are some nice touches in this track, one gets the feeling it plods along too much though. At times it feels like it's just trying to take up time between the good moments. People like to compare this song to "Echoes" by Pink Floyd, but other than length and a few beeping noises, there is no comparison. I get lost so easily in "Echoes" that I don't notice how long it is. In this track, I keep wondering how long it is going to take before the next good thing happens. Not bad, but it could have been trimmed down to 15 minutes and have a better impact.

Overall, this is not a great album for Pineapple Thief, just a good one with a few high points, but not enough. The album was released as a "Thank You" for their old record label, and, quite frankly, it sounds like that, just something nice but not a lot of effort there. 3 stars.

 Dissolution by PINEAPPLE THIEF, THE album cover Studio Album, 2018
4.09 | 62 ratings

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Dissolution
The Pineapple Thief Crossover Prog

Review by Deadwing

5 stars I've never been much a fan of The Pineappld Thieft. I've heard quite few albums of them and most of their songs felt quite unremarkable, with some exceptions. Still, after Gavin Harrison joined up the crew, Your Wilderness was the first album I really enjoyed, and Dissolution really upped their game.

This time Gavin Harrison helped in the writting process and you can definitely hear it through the songs. But this is not only about GH as the other members inputs also helps creating a very cohesive and solid album. There's lots of memorable hooks, very nice guitar riff's and solos, crazy atmosphere created by the keyboards and guitars and your usual GH odd time signature's and clean but complex drumming patterns.

White Mist is a must listen track.

5/5

 All The Wars by PINEAPPLE THIEF, THE album cover Studio Album, 2012
3.63 | 165 ratings

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All The Wars
The Pineapple Thief Crossover Prog

Review by TCat
Prog Reviewer

3 stars As The Pineapple Thief continue to put out albums, I continue to wonder about whether they are really progressing or not. You'll have a pretty good album, then you'll have one that seems a little mediocre, like this one. For the most part, they have made the choice to make songs that aren't really that progressive, but more mainstream sounding on this album, that they sound more like a really good alternative rock band more than a progressive band. Yes, they still take musical cues from Porcupine Tree, Muse, and so on, but, while this one is guitar heavy, it sounds more like progressive-lite, or a commercial sounding Steven Wilson record. The band can't be compared to other current hard prog-rock bands like Dredg, The Dear Hunter or Tool because the main thing that seems to be missing, even on their better albums, is emotion.

So, on "All The Wars", you get mostly guitar heavy hooks that always sound impressive from the outset, like "Build a World", but as soon as the vocals start, things seem to lose power and aim, probably because of the singer trying to sound more MOR and radio friendly. That is the case throughout this album. It's tough to find highlights on this album, even though it is pleasant enough to listen to, things just don't develop enough. Sure the strings and orchestra are nice too, again as on the aforementioned "Build a World", they build towards the end, making you think you might get a nice climax, but there is no real payoff. When you get to some of the longer tracks, like "Give It Back", at about 7 minutes, you would expect maybe better development. Again, you start with a nice guitar hook to start out, but the vocals start and the song immediately loses steam. Some would argue that this sounds like Radiohead, and while some of their songs do lose some power when the vocals start, at least they are a lot more inventive and experimental with a lot more variety. "Give it Back" doesn't really develop much either, but actually tries to build on a very repetitive lyric and rhythm pattern, which doesn't really accomplish what it sets out to do, so a longer track doesn't end up really changing much. There are guitar breaks, but they are too reminiscent of Porcupine Tree, and they are shorter. Porcupine Tree did a much better job of making hard progressive music than this. On this album, Pineapple Thief try to hard to sound like their contemporaries and also try to make things more accessible, but end up making things just sound watered down and repetitive.

There are times when they try doing some tricky rhythms, which tend to lend a little more variety in the last part of the album, but the emotion is still lacking. The orchestration does nothing more than support the band, making it pretty much unnecessary. This is apparent in both "Someone Pull Me Out" and "One More Step Away". The album continues to rely on repetitiveness and a lack of inventiveness, and what you get overall, at least on this album, is not enough progressiveness, and too much more like making alternative rock that is mildly interesting, but nothing really special. 3 stars.

 Abducting The Unicorn [Aka: Abducted At Birth] by PINEAPPLE THIEF, THE album cover Studio Album, 1999
3.43 | 71 ratings

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Abducting The Unicorn [Aka: Abducted At Birth]
The Pineapple Thief Crossover Prog

Review by TCat
Prog Reviewer

3 stars Bruce Soord, the guitarist from the prog band Vulgar Unicorn, started The Pineapple Thief as a side project. On this, the debut album, he is the main instrumentalist and lead singer. The other 2 players seem to be considered session players, though they would be considered regulars by the next album. It seems this band was created to be a little more alternative than progressive, but some of the progressive elements did make it over, thought somewhat slight on this first album. Overall, it's not a bad album. It seems to be well produced and mixed nicely. It is something to be proud of, but I wouldn't consider it a major progressive release. It is pleasant to listen to and has some very interesting harmonies and some inventive passages. I can't say that anything really stands out though, at least after the first few listens. The processed drums don't help out on this album either, it makes the album have a lackluster feel, and that could be the biggest drawback about this album, giving it a feeling of sameness overall, when in actuality, there is quite a bit of change throughout. Once you become more familiar with the songs, you will notice some things do stand out though.

The first track, Private Paradise, on the surface, looks like it could be progressive simply because of the 11 minute time span. However, I do find it lacking in substance. Nothing is really developed much here. It is a mid-tempo song that really does nothing interesting. Yes it is nice to listen to, but there definitely isn't 11 minutes worth of development here and can be a little tiring to listen to for that long. "Drain" however, is a much better song, with more power and better material throughout. This probably would have been a better opener. You also start to notice that Bruce sounds a lot like Billy Corgan from "Smashing Pumpkins" which isn't necessarily a bad thing, but Bruce tends to not have as much passion in his singing, at least on this album. There is a nice guitar break on this second track however, and it stays more interesting. This feeling continues onto the next track "Whatever You Do - Do Nothing", which has some very interesting harmonies and a few nice hooks. The next two tracks keep things interesting enough, with some nice sounds being coaxed out of Bruce's guitar and some great experimentation with processed sounds, but the passion seems to lack a little bit. By the time you get to "Everyone Must Perish", you might start to feel bored as the songs almost seem to melt together in a bit of sameness and a little lack of passion, but when "Judge the Girl" starts, you do start to feel a bit of an upswing in the feel of the music, and things continue to build through this piece where it ends in a heavy swirling of guitars and synths. It then ends a little abruptly and goes into a nice, quasi-psychedelic feel for the introduction of the 18 minute epic "Parted Forever". Bruce continues with a laid back feeling and his quiet vocals join in to match the feeling of the song. But, with the rest of the album considered, by this time you are waiting for something explosive and interesting, so this laid back feeling starts to grow thin. Around the 5:20 minute mark, everything gets a little more tense, which is a welcome change. This goes until about 7 1/2 minute mark, and things back off again. Vocals return after a while, and more mid tempo floating guitar which can feel almost like Porcupine Tree, but again, the processed drums make it feel lacking in passion. The track continues like this for it's duration, with some minor builds and drop offs. It does tend to meander around a bit and you get that overall feeling that this is all you've been listening to from the beginning. It's easy to forget about the standout sections of the album which don't happen often enough.

Again, this is not a bad record, but it isn't essential for progressive music lovers. With the many albums Pineapple Thief have released over the years, things will get better, but it never really remains consistent either. There are some great moments, and there are some that are just too lackluster. But when they are great, they are really great.

 Where We Stood by PINEAPPLE THIEF, THE album cover Live, 2017
3.73 | 24 ratings

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Where We Stood
The Pineapple Thief Crossover Prog

Review by rdtprog
Special Collaborator Metal / Heavy / RPI / Symph Prog Team

3 stars It was almost 20 years ago that Bruce Soord put this band on the map after his adventure with Vulgar Unicorn. On the recording of the album "Your Wilderness", Bruce hired Gavin Harrison of Porcupine Tree to fill the sport on the drums. This decision not only changes the style of drumming on the album but also in the writing process. This live concert has the whole album played in a different order with songs from others albums in between. The music of this band is in the style and spirit of the Kscope label, which is a desire to make a new prog style, modern, kind of post-rock metal sometimes atmospheric with some electronic effects that bring a Radiohead influence. The overall sound and atmosphere recall Anathema and Porcupine Tree. It's a good fun to see the unique Gavin Harrison style of drumming on this concert after seeing him recently with King Crimson. In a short 1 hour and 30 minutes concert and many albums on their discography, you can' t get a boring set list here. But I have to say on the other hand, that there is no standout track for me that reach the greatness of my favorite prog rock bands. I can't criticize the honesty and sensibility of the band here that seems to enjoy their music, but sometimes there is some kind of music that doesn't connect perfectly with you. Despite this, I will give a big thank you to Bruce Soord to have produced this big package with an excellent surround sound not only of the concert, but also the whole "Your Wilderness" album with 8 extra tracks, and more extras. Is Bruce following the steps of Steven Wilson by remixing his own albums and albums of others artists?
 Where We Stood by PINEAPPLE THIEF, THE album cover Live, 2017
3.73 | 24 ratings

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Where We Stood
The Pineapple Thief Crossover Prog

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. It's pretty funny that every track from the previous studio album "Your Wilderness" is on here except for "Where We Stood" which of course is the name of this live recording. I have to say that "Your Wilderness" continues to blow me away to this day. I rated it as the second best studio album of 2016 but man one day it might get bumped up to number one. My favourite PINEAPPLE THIEF album for sure and it sure didn't hurt having Gavin Harrison(PORCUPINE TREE, KING CRIMSON) playing drums on it. Thankfully he's playing on this live album, it was one of the first things I checked out before spinning it. Darran Charles(GODSTICKS) adds extra guitar as he did on "Your Wilderness".

This was recorded live at the London Islington Assembly Hall on February 11/17. It was interesting to hear the three tracks off of "Magnolia" because it's the only studio album from this band I don't own, although the only two tracks that didn't do much for me are from that particular record. My top four tracks are from "Your Wilderness" and I have to say that a few times I kept this in my stereo instead of moving on to the other two cds I was listening to last week simply because I couldn't get enough. So much emotion on this album for me and take away the two tracks from "Magnolia" that don't do much for me then this is a five star album.

I'm not going to go track by track since I've reviewed all these songs except for the three from "Magnolia". By the way the one song from that album I did like on here was "The One You Left To Die". By the way Gavin is his usual brilliant self on the kit here, I can't get over the difference he makes to the PINEAPPLE THEIF sound. So lets look at my top four songs.

"Tear You Up" is a fantastic opener. The emotion and the heaviness makes this a great opener to the live set. I can't get enough of this song. "I cannot tear you up, I cannot tear you up." No I can't get rid of you like tearing up a picture and throwing it out. Before I get to the next top four tune I must say that "The One You Left To Die" sounds amazing live. It's that rhythm section really.

"No Man's Land" is an emotional piece that is ballad-like. Picked guitar and vocals much of the time. Bruce sounds incredible vocally on this live recording including the wonderful vocal melodies that are featured prominently on the "Your Wilderness" songs. How good is this 2 1/2 minutes in when it turns more intense and the vocal melodies are beyond fantastic. Check out Gavin during this section. Not worthy! It then kicks into gear. Oh my!

"That Shore" is another laid back beauty filled with emotion and atmosphere. Again I'm sooo moved here. "I throw you a rope and you do what you want with it, cause your face is leaving me. You should never have left this soon, this soon. And I can never forget you washed upon that shore. Just pull up that rope, and that's all that I beg from you." Bruce I hear you man. Been there not so long ago.

"The Final Thing On My Mind" is the longest track at around 10 minutes. Guitar and drums to begin with as it starts to build. Vocals just before a minute. Check out those vocal melodies before 3 minutes that continue and intensify. How many times I've sung these wordless melodies at work and other places. When he stops singing before 4 minutes the crowd cheers. It feels like this song has to breakout soon, so much tension. And instead he starts to sing the lyrics which are causing the water to rise in my eyes. Sometimes words seem so useless. "How did we get to be so cold, how did I let you get so far from me, we got it so wrong, so wrong. How did we get this cold". Then back to those vocal melodies. "Everything you did is a part of me, ripped apart from me" and more wordless melodies. Check out Gavin after 8 minutes. Amazing guitar solo late. Man the crowd absolutely roars when this one ends.

I love this band and have for many years, even when all I could see on this site was negative reviews back in the day. If I could take three studio albums from this band it would be "Your Wilderness", "Someone Here Is Missing" and "Little Man". So yeah they just keep getting better.

 Your Wilderness by PINEAPPLE THIEF, THE album cover Studio Album, 2016
3.92 | 224 ratings

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Your Wilderness
The Pineapple Thief Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars The Pineapple Thief remain dedicated to their way of making music, growing in reputation and fame, though routed firmly in going way beyond just standing still , rehashing a tried and truly glorious career, but instead choose to explain away their lives, their loves , their hopes and all of their dreams. Yes, occasional nightmares and even tragedies. We survive. Somehow. Steve Wilson concentrated on the analysis of apathy, drug addiction, ignorance and of course, inner pain. All very existential. Bruce Soord prefers a more basic suffering in human terms, dealing with tragedy, loss, grief and often, discouragement. Both vistas are surely depressive but also altruistic in its desire to understand and to heal. On this monumental album, the long-awaited masterpiece has arrived, aroused by the cosmic beauty of past works such as the tragic "Little Man", and the correspondingly majestic "What We Have Sown?" . After a couple of more obscure releases, they are back to proggier realms, with insanely stellar poetry that hits hard and straight, in pure agony. The rather toned-down instrumentation is one of the finest examples of 'less is more', certainly in progressive rock terms, as these musicians simply seize the divine mood and bloom accordingly.

The somber "In Exile" is a mood setter par excellence, scouring for skin deep emotions, sensually sung by Bruce, who never sounded more mournful and penetrating. He can now join the top prog elite with the likes of Steve Wilson, Danny Cavanaugh (Anathema), Marco Gluhmann (Sylvan) and old-timers like Mark Hollis (Talk Talk) to challenge and emote on the wildest level. Incredibly infectious and deeply aggrieved, he arms himself with lyrics that tend to focus on human emotions, something we used to call 'feelings' back in the day. "Don't be afraid to miss me, don't be afraid to hate me", gulp. In exile is a sense of solitude, internal penitentiary and pensive bondage. Bruce's high pitched wail is flooded with an intense mellotron squall, ticked by deft percussives, the band barking up the Porcupine Tree.

Poignant, bold and surreal, the score is minimalist with simply dense drum work from master Gavin Harrison, a genial choice to man the rhythmic arsenal, with a spectacular display of basic percussive mastery as projected on "No Man's Land", beyond a gorgeous a song as it aims to become a hymn to the human condition. Soord croons the dejected song with complete assurance and believability, mainly because it's heartfelt as well as the consequences of his personal grief, the nature of which I will not divulge, at this time. If you want to know then research it, I guess. The song's final section is jaw-dropping, oozing atmospherics from every pore, drenched in restrained exaltation. Harrison again shows his mettle, delivering punchy accents and deft propulsion when the after burners kick in and turn this piece into an epic classic.

The volcanic "Tear you Up" is quite the entertaining ride as well, maintaining the vacillating heartache and shoving it a little harder along, articulating "a distant shore", a solitary figure "drifting on the open sea". It gets punchy with a rough guitar rasp that expresses all the agony of loss, a powerful dose of reality. Another persuasive killer track, "That Shore" has a radiating quality of near ambient desolation, a vaporous mist of infectious aromas, captained by a despair-ignited soul singer, and a melody that owes a great deal to Wilson's fabulous ballad "My Ashes", off the "Fear of a Blank Planet" manifesto. Except here, Bruce aims for the loftiest highs, his hushed voice crushingly sorrowful, the instruments at their most basic, enriching pools of pearled emotions that defy categorization. Devastating !

Two tracks destined to live well together as they focus on the follow up twin emotions to shock, known as rage and anger. Jon Sykes shows off his considerable bass guitar skills on the thus punkier "Take Your Shot" , a gallant compulsion to defend the principles behind civilized behavior by fighting back, at least with words and with imperative music. The competing hard and soft voices demonstrate clearly the deep discord and the ripping confusion, a nasty guitar slaying the beast of despondence. "It's time to make your move. Oh Yeah!". Its roommate is the equally blustery "Fend For Yourself", a clear message of survival from above, from the heavens that rule all of our fears. Terrific Harrison shuffle, an effervescent beat to liven up the soporific voice that 'never looks back", a charming clarinet solo from Supertramper John Anthony Helliwell, a kaleidoscope of simple mosaics that firmly anchor the survival mode message.

But what comes next is the true slayer of the beast of indifference, "The Final Thing On My Mind" is a masterpiece of prog, period! Mournfully melancholic, it exudes a universe where pain is transmitted within a vessel of delirious music, superbly crafted and emotionally intense. The lyrics here play a preponderant role, recalling a story of love that turned into pain and into heartbreak, a crushing admonition ultimately, acquiescence and then survival. Ughh! I can relate having my love walk away into silence, a few months ago. Not a good feeling, being so suddenly alone. So when these words hit home, I can smile and pray for salvation. "Every waking dawn it's you I see, coming back to me". Musically, its breathtaking, a very swooning entrance with an almost minimalist arrangement, pushed by the masterful Gavin Harrison's humble and yet relentless pummel. At the four minute mark, it falls into a magnificent atmospheric pool of deep ambiance, crushingly slow "Everything you did is a part of me, ripped apart from me" as mentioned already by my colleague mellotronstorm. I can feel it and I know John can too. We survive, as best we can until a new sun comes into our existence. The most beautiful melody slowly emerges from the mist, delicately caressed by a forlorn piano motif, a gut-wrenching guitar solo trails but somehow this is all very comforting. A witness to agony, we all commiserate.

The dexterously woven "Where we Stood" ends this magnificent opus, not on a positive note but rather a long look back at what once was and not anymore. A memory, a reminder of "such a beautiful feeling", scorched by a stunning but short guitar outburst.

Need to say something about the artwork, part and parcel of that fabulous No-Man album "Wild Opera" that featured vintage 60s 'America is Great' pictures, courtesy of Beech. A family wretchedly waiting for the encounter of the last kind, searching for a missing father, a missing man, lost somewhere on the upper slopes of desolation. "Your Wilderness" is also a crowning achievement for the man who should be hailed as among the very best talented drummers in the world, which is permanently seared into the grooves with stellar stick work that should impress every stripe of music fandom. He makes Bruce Soord's at times demanding music shine. Their finest album ever and maybe a permanent monument to 2016 prog, who knows? Well, not quite true, Donald Trump knows everything! But I digress. Number 1, I say!

5 Our wastelands

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