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PINEAPPLE THIEF

Crossover Prog • United Kingdom


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Pineapple Thief biography
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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Little ManLittle Man
Import
Kscope 2011
Audio CD$7.24
$10.31 (used)
Someone Here Is MissingSomeone Here Is Missing
Import
Kscope 2010
Audio CD$8.67
$8.24 (used)
Variations on a DreamVariations on a Dream
Import
Kscope 2011
Audio CD$7.94
$12.17 (used)
All the WarsAll the Wars
Kscope 2012
Audio CD$8.19
$10.68 (used)
Tightly UnwoundTightly Unwound
Kscope 2014
Vinyl$19.54
$19.74 (used)
IntroducingIntroducing
Recall Records UK 2014
Audio CD$5.44
$4.02 (used)
10 Stories Down10 Stories Down
Kscope 2011
Audio CD$8.23
$8.05 (used)
What We Have SownWhat We Have Sown
Import
Kscope 2013
Audio CD$7.73
$7.72 (used)
MagnoliaMagnolia
Kscope 2014
Audio CD$7.14
$5.25 (used)
MagnoliaMagnolia
Kscope 2014
Audio CD$9.88 (used)
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PINEAPPLE THIEF discography


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

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

3.48 | 58 ratings
Abducting The Unicorn
1999
3.22 | 57 ratings
137
2002
3.19 | 112 ratings
Variations On A Dream
2003
2.35 | 33 ratings
12 Stories Down
2004
3.33 | 69 ratings
10 Stories Down
2005
3.78 | 113 ratings
Little Man
2006
3.84 | 175 ratings
What We Have Sown
2007
3.63 | 164 ratings
Tightly Unwound
2008
3.58 | 211 ratings
Someone Here is Missing
2010
3.70 | 129 ratings
All The Wars
2012
3.60 | 94 ratings
Magnolia
2014

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

3.67 | 3 ratings
Live 2003
2003
3.52 | 12 ratings
Someone Here Is Live
2010
4.25 | 8 ratings
Live At The 013
2013
4.20 | 5 ratings
Live 2014
2015

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

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

3.93 | 46 ratings
3000 Days
2009
3.21 | 5 ratings
Introducing ...The Pineapple Thief
2014

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

0.00 | 0 ratings
Sherbet Gods
2000
3.83 | 9 ratings
4 Stories Down
2005
0.00 | 0 ratings
Limited Edition Free CD
2006
4.18 | 11 ratings
Shoot first
2008
3.87 | 27 ratings
The Dawn Raids (Part 1)
2009
3.84 | 24 ratings
The Dawn Raids (Part Two)
2009
3.76 | 17 ratings
Show A Little Love
2010
4.50 | 2 ratings
Nothing At Best
2010
4.06 | 17 ratings
Build A World
2013

PINEAPPLE THIEF Reviews


Showing last 10 reviews only
 Little Man by PINEAPPLE THIEF album cover Studio Album, 2006
3.78 | 113 ratings

BUY
Little Man
Pineapple Thief Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars The Pineapple Thief are back into my search posse as definite targets of further interest, having re-established a relationship with their material post-'Variation' , which is where I had severed my interest for inexplicable reasons. I went looking more towards Anathema for my melancholic, gut-wrenching rides. My friend mellotronstorm is the main culprit for finding my way first to the imperially majestic 'What Have We Sown ' and still dazed from the aftershock, I ordered both 'Little Man' and the 'Someone Here is Missing' is on its way to my door. I did my research (aka read John's heartfelt review) and that was enough to take the plunge with 'Little Man' and I have been giving it the full treatment. The subject matter is extremely painful, almost to the point of torment. As a father of five, I cannot even begin to comprehend the loss of one of my offspring, it would be devastating to the point of catatonia. A searing bullet of sheer terror through my brain. Bruce Soord lost his premature-born son Felix and was comprehensibly affected down to his core. Therefore the pain that emanates from the grooves is palpable, fragile yet brutal, despairing and final. Funny thing about pain, it's often the source for great works of art, be it literature, paintings, sculpture or music. This suffering belongs to the artist but he cannot help but express it and we as an audience have to respect that, and in fact, emphatically embrace it. With empathy and love, understanding and compassion. Pity the empty swing in a snow-covered park, blue skies overhead.

Because of the context, the resulting album is therefore subject to a different set of standards, as the artist was definitely under enormous strain and pressure, which can obfuscate the clear-minded thinking that goes into the creative process. This is why the songs seem a bit disjointed or in some cases raw, as if submerged with a thick coat of distress that prevents any sunny disposition. So it should come as no surprise that the opening song 'Dead in the Water' has this numbing anesthetized cotton sound, severe despondency in the mood and punctuated by thrashing drums, heavy on the crashing cymbals and a general woozy disposition that is quite 'sinful'. The shuffling electric guitar is moribund yet jangly. Death. Water. Pain. The slightly more psychotic 'God Bless the Child' is driven by an unrelenting repetitive rage, hand claps notwithstanding, as if to find some kind of solace, some kind of panacea. 'I'm not doing it anymore' and the title reiterated ad infinitum. Anger. Rage. Fear.

Then, suddenly, from the blue skied horizon comes 'Wilting Violet', an absolute delight, a song of utter beauty and tenderness. Hoping for a superior response, something worthy of expression, in finding words that cannot explain anything anymore, as the metronome ticks and tocks with exalted tension. Both Soord and Kitch both vent heavily on their respective instruments, the guitar in fury and the synths in gale storm mode. Another agonizingly gorgeous melody announces that 'there is nothing one can do', but somehow 'Wait', as the numbing pain gently subsides, replaced by a massive mellotron embrace, military drums leading the parade. Fragility. Remembrance. Despondency.

The anger-fueled mania of 'Run for a Mile ' is a definite high point, slashing and thrashing guitars shoving the smoking mellotron ahead , driven by the cymbal-heavy oppressive drum assault and trebled bass furrow. 'Push it further', he yells gently. The bewildering piece snarls, rages, spits and splatters, with almost punkoid energy, determined and omnipresent, eventually becoming quite the sonic tornado. It all comes to a screeching halt momentarily, almost to a silence, only to restart once again veering towards a, by now, tempestuous mode. The title track is all purity and despair, an honest tribute to the fallen little one. No warning, nowhere to go and hide, no escape. The lyrics are poignant to the point of tears. Life is unfair as well as fragile, fleeting, without the slightest warning sign. Solitude. Dreams. Family.

Then comes a series of songs that, while still pulling at the heartstrings, fully develop into mini-masterpieces of progressive rock music, coated with oodles of melancholic expression. The spectral and majestic 'November' introduces glacial gusts of mellotron and a disconsolate mood, surely the most symphonic piece here, gently beautiful and epic. The ensuing guitar pyrotechnics engage on a most primitive level, heavily distorted and in obvious agony. The melodic peak is achieved on the sensational as 'Boxing Day' has a glorious chorus that feverishly clings to your heart strings, engulfing the listener in a balmy wind of hope and salvation. The lyrics really hit hard: ' I hold you tighter very night and I never let you out of sight', coated with an orchestral veneer that really impacts the arrangement. 3 Minutes and 53 seconds of absolute splendor and melancholia. A brief instrumental reprise of 'God Bless the Children' serves as an intermezzo, a broodier version of the first one, now addressing all of them as opposed to only the little one. This leads straight into 'Snowdrops', another melodic triumph, a magnificent piece of audio jewelry that breathes insubstantiality, life is just like a snowflake, eternally complex and unique yet totally flimsy and delicate. The lyrical content is elevated to celestial heights with words of wisdom: 'I will slow your fall, that is all, just settle down, the little man stands tall'. Yeah, gut wrenching, as the hand claps return to the fore, building up an emotional crescendo, heavily festooned by orchestral support.

The crushing finale is also the longest piece here, surely an elegy of the most personal kind 'We Love You' starts with an electro bleep that lingers throughout and adds dimension to the desolate lyrical manifestation ('I need your soul to feed my world'), the accent clearly on the legacy of a love that is both unbreakable and eternal. The instrumental blow out is sheer magnificence, somehow showing the way beyond. Certainly disheartening and deeply hurtful but eternity comes to those who die and who have been loved for the person they were. Faith. Fate. Freedom.

This is perhaps one of the most personal and profound piece of musical art I have heard in a long time, a scream in the dark, a searing blade shoved deep into the soul. Respect. Honor. Love. When compared to the next album, the masterful 'What Have We Sown', it appears that the Soord was not up to the task of honing the sonic details and deliberately, perhaps even mercifully, kept things straight and narrow and obviously, highly emotional and grief stricken . A dark moment. Let's leave it then at that.

4.5 tiny angels

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 What We Have Sown by PINEAPPLE THIEF album cover Studio Album, 2007
3.84 | 175 ratings

BUY
What We Have Sown
Pineapple Thief Crossover Prog

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

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 Magnolia by PINEAPPLE THIEF album cover Studio Album, 2014
3.60 | 94 ratings

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Magnolia
Pineapple Thief Crossover Prog

Review by crashandridemusic

3 stars Residing in England, The Pineapple Thief consists of Bruce Soord on vocals/guitar, Jon Sykes on bass guitar, Steve Kitch on keyboards, and Dan Osborne on the drums. Having been around for over 15 years, listener can have their pick of the litter when it comes to selecting great music. I feel their most recent 'Magnolia' shows the band at its finest, but displays a band transitioning away from their progressive influences.

Leaning more towards a straightforward rock sound than any of their prior works, 'Magnolia' serves as the perfect introductory record to newcomers. Lasting only 46 minutes (an unusually short album by prog's standards), the overall downbeat nature of this album restrains the band, and prevents them from being too showy. No song is over six minutes long, leaving off any chance for a potential epic like 'Light Up Your Eyes' or 'P.V.S.' The album also lacks experimentation found in previous albums, focusing more on mainstream songwriting. Sure, the album starts off with a bang, featuring the powerful choruses of 'Simple As That' and 'Alone At Sea.' From this point, the album takes a turn with four gentle songs in a row, including the album's title track. It's this stretch that reminds me the most of Porcupine Tree from the 90's. The slide guitar, the effect- driven clean guitar, the overall simpler song structure; it's very relaxing, but also serves as the lone fault on this record, which I'll mention later. It isn't until 'The One You Left To Die' plays that the listener is sucked back into the heaviness of the album.

Being my personal favorite song off the album, 'The One You Left To Die' contains that clich' British sound that is apparent in records ranging from present day bands like Muse and Coldplay to as far back as the Beatles. The bass line that takes center stage from the beginning, the quick notes struck by symphonic instruments, and the emotional vocals all set up the upbeat chorus. Even the following song 'Breathe' acts as a sister-song, containing much of the same themes and tones as the prior. The passionate vocals in these two songs are the driving force of this album, especially the chorus in 'The One You Left To Die':

'The one you loved returning, the one you left to die / You'll never stop, you're searching for/ The one you know has died.'

'Magnolia,' although a beautiful album, is far softer and simpler than typical progressive rock albums. In fact, if you aren't paying enough attention, it'll pass by unnoticed. I'm not sure if it's because of the track order, or simply the presence of too many softer songs, but the album is relatively quiet and choppy. One could even argue that many of the songs follow the same formula, which I wouldn't necessarily disagree with. Besides 'The One You Left To Die,' I couldn't recall any other memorable song off the album. With all those concerns, this album definitely needs to be listened to multiple times to achieve the desired effect. Each song does have it's own unique flavor, but is meant to be listened to as a whole instead of its individual parts. With its modest approach, The Pineapple Thief have written an effective record that can please old fans and discover new audiences.

A solid effort, "Magnolia" is easily a three star album.

Taken from Crash And Ride Music

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 Introducing  ...The Pineapple Thief by PINEAPPLE THIEF album cover Boxset/Compilation, 2014
3.21 | 5 ratings

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Introducing ...The Pineapple Thief
Pineapple Thief Crossover Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars One of the modern bands whose sound has grown a lot on me in the last years in Pineapple Thief, a UK act that offers progressive rock with a light sound, which is easy to dig and enjoy, closer to alternative rock but with the essence of prog. They have been earning people's love with their music, so nowadays I can say they are not an obscure and unknown band anymore, which is good for them because their sound has been spreading more and more.

I am so happy I will see them live at the Ramblin Man Fair, they are one of my most expected acts at that festival, and I love to see more people is getting involved with their music. And due to that involvement, I think they released this compilation album for people who is getting to know them, or for people who want to rediscover them. With the name of 'Introducing Pineapple Thief', this 2-CD album gives us a nice (but not the best) selection of 20 representative tracks of the band.

Honestly, at first I did not enjoy it a lot, actually I thought and still think the selection could have been better, and though I know this is not a 'best of' compilation, it is strange not to see songs such as 'Nothing at Best', 'All You Need to Know' or 'Resident Alien', which to my ears greatly represent the band's sound. However, we can enjoy a walk through their discography with older and newer songs such as 'We Subside', 'Doppler', 'Barely Breathing', 'Warm Seas', 'We Love You' or 'Vapour Trails', among others. Sadly, this was released before Magnolia, so of course we will not find tracks from their most recent studio album.

If you are new to the band, this might be a nice way to start. If you already like the band or even love them, I think you might avoid this, or buy it in order to complete your collection, but you will not find anything extraordinary here. To my fellow Mexican fans, this album is distributed and can be found via Odisea Producciones.

Enjoy it!

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 Magnolia by PINEAPPLE THIEF album cover Studio Album, 2014
3.60 | 94 ratings

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Magnolia
Pineapple Thief Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars UK band THE PINEAPPLE THIEF was formed back in 1999 by composer and musician Bruce Soord. Initially a self-described bedroom project, that have developed into a well defined and rather popular band as the years have gone by. "Magnolia" is their tenth studio production, and was released through UK label Kscope in the late fall of 2014.

Whenever you're dealing with a Kscope production, you know that no matter what kind of music the album contains the mix, production and overall sound quality will be excellent. This latest production by The Pineapple Thief is no exception there, those fond of well produced material in general will get their fix solved quite nicely here. The sound comes across as fairly analogue, in that it doesn't come across as compressed in the manner in which many contemporary productions may be, and the soundscapes comes across as warm sounding and organic to my ears.

As far as the music itself, the lead vocals of Soord makes certain comparisons undeniable for me. He's got a voice that in timbre and approach does have some clear similarities to Radiohead's Thom Yorke, up to and including a certain sad, mournful touch, and this aspect is dominant enough to give this entire album a slight late 90's Radiohead sheen. I might add that Soord has an excellent vocal control, and he rarely if ever have that desperate quality to his delivery that Yorke has. Yorke as a vocalist may come across as a guy that appears to be in the middle of a nervous breakdown, while Soord always sounds like he is in full control of events. So while there are similarities, especially in the songs or sequences that pairs off Soord's voice with a careful, fragile instrumental backdrop, they remain similarities of a more distant kind. Related you might say, rather than identical.

Whenever The Pineapple Thief hits a more hard edged stride, which is fairly often, the band comes across as rather more similar to the likes of Porcupine Tree. With pumping bass, driving rhythms and dark, compact guitar riffs with or without noticeable keyboard supplements, The Pineapple Thief is a band that could give Porcupine Tree a good run for the money indeed. Again it is a case of similar features and a similar approach in my opinion, related but far from identical.

Rather than exploring these two facets separately The Pineapple Thief tends to blend these two somewhat different sounding traits into a complete whole. Sometimes by pairing off these tendencies in calmer and harder edged sequences following each other, at other times by using certain aspects from both directions in a seamless whole. There are songs here that sounds more like one or the other, but the general and overall feel I get is a band that assembles aspects from both of these indie rock flavored aspects of progressive rock into a whole, and manage to do so in a manner that sounds natural and logical too I might add. Which indicates that The Pineapple Thief, rather than being a band that strives to incorporate influences from the aforementioned bands, is a band that share influences with both Radiohead and Porcupine Tree. And that it is due to this that they share certain similarities with both of these bands as far as sound and expression is concerned.

It all ads up to an enjoyable production of indie flavored progressive rock. The album as a whole comes across as on that should have a strong mainstream potential, but also a creation with enough ear candy and sophisticated features to be of interest to fans of progressive rock, and then in particular those fond of bands like Radiohead, Porcupine Tree as well as those with a general fascination for artists that approach progressive rock from an indie rock perspective.

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 The Dawn Raids (Part Two) by PINEAPPLE THIEF album cover Singles/EPs/Fan Club/Promo, 2009
3.84 | 24 ratings

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The Dawn Raids (Part Two)
Pineapple Thief Crossover Prog

Review by TCat
Prog Reviewer

4 stars Here is part 2 of the 2-part E.P. series called "The Dawn Raids" which features unreleased or rare songs that were recorded during the "Tightly Unwound" sessions. Both of these E.P.s were limited releases of 2000 copies and were only available through online order. The first track is another version of "Tightly Wound" from the album, this time it is an acoustic version. It is also 1 minute shorter than the album version. Not a bad version, but it is missing the lushness of the version from part 1. It's funny how the acoustic version is almost more dark sounding and closer to the atmosphere of the version on the album. The synthesized strings do appear on the last half of the song for a short time but are cut short so the song misses the beautiful ending that was on Part 1. "Freefall" is a previously unreleased song from the album sessions. It is mellow throughout, but not a traditional verse, chorus song with some untraditional rhythm going on throughout. "Bitter Day" was written specifically for this E.P. This one starts out quietly and then explodes into a nice full band instrumental before going quiet again but retaining a fairly straightforward rhythm. It oscillates back and forth from full band to quiet passages. Very beautiful melody and interesting track. "Second Chance" was previously only available as a digital download on a separate EP. It starts out in a very underwhelming way, but builds nicely throughout, goes into a very instrumental passage where it sounds like a bowing guitar which gives a nice special effect to a beautiful crescendo and ending. Very very nice.

Again, these 2 E.P.s work very well together and are a worthwhile additions to a prog collection. Just like part 1, 4 star material.

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 The Dawn Raids (Part 1) by PINEAPPLE THIEF album cover Singles/EPs/Fan Club/Promo, 2009
3.87 | 27 ratings

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The Dawn Raids (Part 1)
Pineapple Thief Crossover Prog

Review by TCat
Prog Reviewer

4 stars This is a first part to a 2 part E.P. series of unreleased tracks from the "Tightly Unwound" sessions. The first track is a smoother, softer version of the "Tightly Wound" track from the album and it is also edited down one minute shorter than the album track. The parts edited out are mostly instrumental repeats and may not be very noticeable that they are not there. "The West Coast" is a mostly acoustic song, very short and not much of a standout, on the 2nd half you get the nice Pineapple Thief harmonies and then it's over quickly. "February 13" is more of a full band piece at mid-tempo but as the song continues it gets a very tricky beat and a synthesized string section and cool guitar hooks. The tempo and atmosphere of the song is constantly changing, an excellent song that would have been a great standout track on the album. The rhythm/percussion track is very interesting and dynamic. It's almost worth the price of admission on it's own. "Too Far Gone" was previously available as a download only. It is a very dynamic song going from hard driving hooks to more quieter verses, but with a constant rhythm. For a short track, it has a lot going on and a great mix of vocals and instrumental passages. Another great song.

So you get three great songs and an OK song, not bad for an EP of outtakes. A great collectors item, but the music is high quality especially for outtakes. Even for an EP, it's an excellent addition to my collection and nice to play along with part 2 of the series.

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 Someone Here is Missing by PINEAPPLE THIEF album cover Studio Album, 2010
3.58 | 211 ratings

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Someone Here is Missing
Pineapple Thief Crossover Prog

Review by Obsidian Pigeon

5 stars The Pineapple Thief is a band that manages to craft very well-written songs that stand both on their own and within the context of the album. While I enjoy albums that flow from start to finish and seem to have some cohesive theme, I always find that I do not have the time to listen to them, or that listening to them may be somewhat of a chore. With The Pineapple Thief, I manage to find the best of both worlds and can simply enjoy the songs one at a time, or the entire album should I choose to do so.

The music on the album, I think, is top-notch. Many of the songs have addicting melodies and instrumentation, even on the much shorter pieces. The longer, more progressive songs are also very well-written, and So We Row is most likely among their top larger pieces in their discography.

This is an album that I can listen to in just about any fashion or at nearly any time that I want to listen to music. As much as I do enjoy more cohesive albums united under some grand concept once in a while, I sometimes just want to listen to pieces of an album in a short amount of time, and The Pineapple Thief is perfect for that, and the music behind all of the songs on this album is some of the best alternative/progressive that I've heard.

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 Little Man by PINEAPPLE THIEF album cover Studio Album, 2006
3.78 | 113 ratings

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Little Man
Pineapple Thief Crossover Prog

Review by Obsidian Pigeon

5 stars The Pineapple Thief managed to create a very emotional and well-written piece with this album. This is a very personal album for Bruce Soord, and the lyrics and the music have a very melancholic feel to them.

Highlights to this album include the opener, God Bless the Child, November, Boxing Day, Snowdrops, and We Love You. While some tracks are not as good as the aforementioned listed, the merit of these tracks alone help carry the album, and no track really drags or is poorly written.

With Little Man, The Pineapple Thief managed to craft an emotional, atmospheric, and beautiful album that displays excellent songwriting and captivating melodies.

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 Magnolia by PINEAPPLE THIEF album cover Studio Album, 2014
3.60 | 94 ratings

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Magnolia
Pineapple Thief Crossover Prog

Review by arcane-beautiful

3 stars I won't lie. The Pineapple Thief aren't a band I have been really keeping an eye on. The only album I actually have of theirs is "Tightly Unwound"...and I thought it was alright. But, last year Bruce Soord (lead singer of the the band) collaborated with Katatonia vocalist Jonas Renkse to make "Wisdom Of Crowds," and impressive album packed with tunes, especially the amazing and beautifully arranged "Frozen North." Did Soord get lucky with "Wisdom Of Crowds"? Well...maybe. To be honest I think Soord knows the bands sound and doesn't want to straw too far away from it, allowing Wisdom Of Crowds to be his experimental side project.

Musically the band are very much stuck in the art rock stages of the 90s and always have been for their career. In many ways the band are pretty much a rip off of 90's band Mansun. But, if I was to describe the band, the perfect description would be the middle ground between Death Cab For Cutie & Porcupine Tree. One change that the band have done for this album is the loss of longer compositions (with the longest composition being just over 5 minutes). I am sad to see the loss of an epic on this album, because I think it's on longer compositions where this band really shine and show off their ability, but this album does show a slight focus on songwriting, so really there's good and bad moments throughout.

Bruce Soord is a pretty great vocalist and songwriter and the band do play the material with a good sense of musical knowledge. One of the problems I have with the band is that their material while impressively put together can lack a lot of cohesion. I really don't think any songs on this album will really stick with me. Not that the songs are bad or anything, just my own personal tastes maybe. I do really like the album cover though.

Album opener "Simple As That" is a pretty great way to start off. With a lot of interesting changes throughout and some pretty cool riffs, the song really opens up the album well introducing the bands sound.

One of my personal favorite tracks on the album would have to be "Breathe." One of the more rockier songs on the album, the song is really pushed forward with a pretty great chorus.

"Sense Of Fear" starts off becoming almost like an epic track for the band with a pretty tense intro. The song builds up and kind of ends which is a bit of a shame because this could have been a rather interesting track.

An interesting track on the album would be "A Loneliness." Starting off very slow and quiet the song then soon explodes with some interesting crescendos. A beautiful vocal performance from Bruce as well.

Album closer "Bond" is a pretty great ender to the album. Having some brilliant climatic moments and having a great trumpet solo, the song ends the album off on a good light.

Overall, this album is pretty good. I won't lie, The Pineapple Thief aren't 100% my thing but I did enjoy this album. It is business as usual for the band, but Soord is a good songwriter and there are some nice moments on it. I have heard a lot of bands who sound like this, but when your songs are pretty good, I won't throw too much metaphorical faeces on you.

6.8/10

Genres: Progressive Rock, New Prog, Art Rock, Alternative Rock, Indie Rock

Country of origin: England

Year of release: 2014

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Thanks to ProgLucky for the artist addition.

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