FORBIDDEN PLANET INTERVIEW MAY 2003

1) Can you first tell me a little bit about your musical career ´til now.

I bought a Spanish guitar when I was 15, even though I was convinced this was too late to start learning. My friend urged me to do it regardless. I think I owe him a pint! I was a terrible player though, with no sense of timing or melody, which isn't a great start. I played in some equally terrible local bands and remember emptying many venues. It was quite an experience playing to the barman! However, it was all a learning experience. The first defining moment in my musical career was when I started attending a 'rock workshop' run by a local musician called 'Jon Parish'. He went on to greater things with 'PJ Harvey', 'Sparklehorse' and 'The Eels' among others. It was during this time that I learnt the importance of composition and performance. I also realised that playing the guitar at 200 miles an hour was NOT the key to becoming a good guitarist. With this new knowledge on board, I went on to play in some decent bands. Then, Neil and I recorded some demos under 'Vulgar Unicorn' and we were signed to Cyclops. I have to say though, it is not until 2003 that I have seriously considered taking my music on the road.

2) Did you work and record albums with other bands in pre-Vulgar Unicorn/Pineapple Thief times?

Not really - I played in a really good three-piece band that 'almost' signed to the majors, but it all went horribly wrong. In retrospect, this was the best thing that could have happened to me. If I HAD signed to a major, I'm sure I would have gone the same way as all the other artists in the same boat. What happened to poor old Mansun? Ultrasound? And Echolyn seem to be doing much better now they are running their own show. Sony didn't exactly open any doors for them did they?

3) How would you describe your musical roots? Are there any special influences?

Yeah - I guess there are. When I was young, I listened to a lot of Camel, Yes, Hackett, Anthony Philips (he's the reason I bought a 12 string!), Floyd, Ambrosia, Colin Blunstone, Supertramp etc. I love Andy Latimer's playing, especially his early stuff up to Nude. As you might expect, being into this music during the 80s and 90s as a young lad put me in the 'weirdo' camp. But I also enjoy a lot of modern stuff (although it's a struggle to find anything decent). Some popular bands I listen to now include Beck, Deftones, Queens of the Stoneage, the Pumpkins. I really like the new Feeder album - it's a great pop record. But I was also profoundly influenced by a live concert of Steve Reich's 'Music for 18 Musicians'. I can hear some really strong influences in my music when I listen back now.

4) Do you work as a fully professional now?

Sadly no! That's my ambition but I am still some way off that. Still, you never know how 'Variations' might do. It seems to be getting noticed and has nearly sold out the first run, which is ok seeing it was only released today (27th May 2003). I think it's only now that I realise how many Pineapple Thief fans there are in the world! I'm really going to push the band live this year - I'm looking forward to playing the summer festivals. But no, I have to work to make up the budget to keep recording albums. But it's ok - when I get in to my studio after a day at work, I am full of energy to create. It's amazing how beneficial a dull job is for song writing!

5) You found with Pineapple Thief a second band. Wasn't it possible for you to realise other (or maybe all) of your musical ideas with Vulgar Unicorn?

Yes - that's true. As much as I love Vulgar Unicorn, there was a style of music burning inside me that I wanted to create. The two projects are VERY different even though I sing and play guitar on both now. Neil has a large input into VU and I am usually happy to let him come up with lyrics and song structures. Pineapple Thief is sincere and deeply personal to me alone. I tend to put more emphasis on song writing and melody. If you listen to 'Subside' on the new album, I don't think the chords modulate at all, yet I think it's one of the best songs I've written. It wouldn't win any awards for widdly playing or complicated structure but I really wasn't interested in that. When people tell me how moved they are by the music and words, that's the real prize for me.

6) How would you describe the main differences between the two formations/musical directions?

Oops, I think I just answered that a little in the previous question! That's a really tough question though. Neil's song writing is very unique and more technical. He also uses modern synths and I would probably say the chord structures are more left field and jazz influenced. Pineapple Thief is all about expressing my emotion with music and words. Where Neil is happy to sing about all kinds of strange things (food, imaginary couples, space travel) I can ONLY sing about things I feel profoundly moved by in real world experiences. It just so happens that I am usually only inspired by the darker shades of life.

7) You have to run two formations now; Isn't it a bit difficult to organize that and concentrate on the musical aspects?

It works at the moment because I can split my year in two. VU tends to happen in the summer months, Pineapple Thief in the winter months. I think if things take off this might be harder to juggle. But the truth is, you're right. There is no way I could juggle two projects simultaneously. When I am recording a Pineapple Thief album, my mind is dedicated to it 100% for how ever long it takes. All my waking hours are spent mulling things over, deciding where to take it next, how to improve things, what kind of melodies to apply. It's a really intense time. It's almost like doing VU is a relief because I can leave Neil to do the hard bits!

8) Do you prefer a tight band situation at all? Or could you also realise your ideas as "Bruce Soord & guest musicians"?

In an ideal world, I would prefer a close band situation. But I think I will always write on my own, simply because the music is so personal. But the band I have got together for the summer festivals is great and they have added a lot of their individual talent into the musical melting pot. I am planning to record the next album with them and allow their input for sure. But as far as structure and words go, I can't see how I could justify letting anyone else take a bite of that. Still, my keyboard player came up with a lovely piano part the other day. Perhaps I shall steal it and credit it as my own!

9) Your label Cyclops is known for progressive rock music. Do you see yourself as a part of the prog scene?

Well, yes and no. I am extremely grateful to Malcolm Parker and Cyclops for believing in me over the years but I am not sure being linked to neo prog is doing me any favours. My music is definitely progressive, in the same way Pink Floyd were progressive in the 70s, or how Radio Head are progressive now. But if by being progressive you mean by churning out Genesis or Yes clones then I am definitely NOT progressive! Some modern progressive acts are so derivative I think it's ironic they are labelled progressive. Regressive would be more accurate! These are the bands that are turning the RadioHead fans away from the wealth of great progressive bands out there today. Radio Head are huge global sellers. These fans are crying out for more inventive, more truly progressive contemporary rock. I think this is why Porcupine Tree are doing so well, but I must not mention them!

10) By the way, are you satisfied with the label´s work? And could you imagine signing a contract with a major to reach (possibly) a bigger commercial success?

Malcolm at Cyclops and I have built up a great friendship over the years and I think we both know I would need a bigger label to reach out to a wider audience. Cyclops do a great job but they just don't have the resources to promote my music the way it should. Also, I get a lot of feedback from fans saying how surprised they 'found' me as they didn't expect this kind of sound from Cyclops. I could definitely imagine signing to a larger label as the Pineapple Thief stuff has huge commercial potential - I believe it reaches out to progressive music lovers as well as 'ordinary' music lovers. But one thing I will never do is fall out with Malcolm! If I moved on, I would make sure everyone is happy.

11) Concerning "137": you got a lot of positive feedback, are you still satisfied with the album?

Yeah, '137' was my breakthrough record and I can still listen back to it with pride. But no, I'm not satisfied with it! The production and performance isn't as good as 'Variations'. I think, as an artist who is always looking forward, I would never look back on any of my work with 100% satisfaction. I definitely have to skip quite a few tracks on 137! But 'Kid Chameleon' still has a special place in my heart - it kicks off our live set perfectly too.

12) On "137" one can´t hear the more typical cliches (you know, the art for art´s sake-thing) of prog rock. Would you say that you´re a very song-oriented composer?

I hope so and I'm glad you might think so! As far as I'm concerned, anyone can go out there, pick an obscure time signature, go through a multitude of chord changes, play technically demanding stuff over the top and call it a song. But 'a good song this does not make'! I think being successful as a 'song-orientated' composer is a much more demanding challenge. Being a 'song-orientated' composer and winning over both sets of fans is an even bigger challenge!

13) What´s your main inspiration to write a song? And what comes first, always the music or somtimes the lyrics too?

Quite often I improvise the music and words at the same time by strumming along on my guitar. This is usually how I get a basic idea together and this always seems to create the best results. When people say the best songs are written in 10 minutes, I think they are right. But I always spend a lot of time developing these ideas, making sure I use the best possible instrumentation and develop my ideas with the most relevant structures and melodies. My time working with Steve Coe and Sheila Chandra were instrumental in developing this skill and patience. In case you don't know, they are most well known for 'Ever So Lonely' by Monsoon (and recently remixed by Jakarta) but they have also released many vocal and drone works over the years. They spend a lot of time in my studio developing and producing ideas and this has been an inspiration to me.

14) Is it important for you to express your own feelings with your lyrics or do you see yourself as a more distant story-teller?

No, I have always felt strongly about this and am convinced I do not have the right to sing about anything BUT my own feelings. Sometimes I might dress these up to appear like a story, but they are always based on things that have happened and moved me, whether in a positive or negative way. I would never presume I could sing about things I know nothing about, such as OTHER people's experiences or tragedies. And you won't catch me singing about my girlfriend either! Well, not in an obvious way.

15) I´d describe your musical style as a very warm and gentle one, often even a bit melancholic, but one can always feel a lot of energy. Is there also a let me say "darker side" of Bruce Soord? Wouldn´t you enjoy surprising listeners with the expressions of aggression and anger too?

Yes - the next Pineapple Thief album will definitely have a lot more aggression (as well as the usual melancholy and gentleness). I already have some songs ready for it (some of which I was playing to the majors last year in my three piece band) but they weren't suitable for 'Variations'.

16) Is it important for you to produce your albums? Could you imagine to work with another producer?

I love producing my own work but realise I could take Pineapple Thief to different places with the right producer. It would also give me more time to concentrate on composition and performance without worrying about the technicalities of recording and production. So, yes, I could definitely see myself working with producers as long as the relationship is a good one. I hear too many horror stories of bands being shut out of the studio while the producer mixes the record. I'll have to make sure that doesn't happen! But I have plans for the 4th Pineapple Thief record that are very exciting....

17) Next week is the release date of your new PT-album. Please tell me something about "Variations...", a bit more about the songs e.g. the meaning of the lyrics, personal emotions regarding the music.

The album was deeply influenced by the untimely death of one of my very close friends. He was only 28 so it was a huge shock. You don't need a brain the size of a planet to realise tracks like 'Subside' and 'Vapour Trails' are about this. I think this is why the album is gentle and melancholy. But I was desperate not to release a 'hopeless' record. It's an indescribable feeling trying to rationalise death, especially tragic deaths. I went someway towards expressing this in the music I did for 'Variations' . But I also tried to express the importance I felt in 'carrying on'. Regardless of how I feel about our 'reason for being', there is no point in sitting down and giving up. 'Part Zero' tries to rationalise bothering to create music in the first place, and 'Remember Us' was inspired by the nagging feeling that all people must end. What have we got, if we don't have a faith, without remembrance? Ultimately the human race will be gone but it is a small comfort non the less.

18) Is there a kind of concept behind?

So, I guess there IS a concept. If I could describe it in a few words, it would be the eternal struggle to find meaning in a finite world. I can't help but look at everyone I love and think that soon they will all be gone. But there HAS to be a way to rationalise this and live a full life regardless.

19) Concerning the "Live" situation: do you like to play gigs at all? Is it possible to get enough gigs for you in the UK? Do you perform (as Pineapple Thief) also Vulgar Unicorn stuff? And (most important...:-)): is there any chance to see you live in Germany in the near future???

Yes - 2003 is really exciting because the world will get to see a bit of Pineapple Thief live for the first time! We're playing French and UK dates but would love to play Germany as I know we have a lot of fans there. I am hoping this live adventure will be a long and fruitful one!

20) I forgot to ask you another question: there are many reviewers comparing your music with the likes of Porcupine Tree, Radiohead and even Pink Floyd. What do you think about that, do you feel happy with it or is it a problem for you? OK, that´s enough...:-))

Right - the dreaded one. The Porcupine Tree link is inevitable because the names aren't that far away from each other. This was a genuine coincidence. But that's as far as the link goes. I never heard any of Steve Wilson's work until last year so the comparisons must be down to being similar artists and has nothing to do with plagiarism! We're about as close to Porcupine Tree as, say, Led Zepellin were to the Stones. Both did great rock music but within the field were a million miles apart. The two PTs are similar in the way we are both trying to push contemporary rock music forward in a way (bizarrely) few modern acts are doing. Hence, there are ALWAYS comparisons with Porcupine Tree, Floyd, Radiohead - sometimes people mention Coldplay and the Pumpkins. But I honestly think our music is unique, but acknowledge people need a pointer. The truth is Radio Head and Porcupine Tree are probably the closest you are going to get. I just hope we can emulate the same success one day....


Bruce 14:26 28th May 2003