PROGRESSIA INTERVIEW PINEAPPLE THIEF - BRUCE SOORD

Hello Bruce! First of all, can you detail us the birth of Pineapple Thief. In the beginning, was it a solo project or a band in itself?

Bruce Soord: No, it was definitely a solo project. After Neil and I had set up our studio, I realised I was in a position to start the Pineapple Thief project. I remember, I was watching a film called 'Eve's Bayou' and someone shouted 'I can see you pineapple thief' as a young girl ran off with a stolen pineapple! I thought to myself, 'there's the band name' but maybe I had drunk too much wine! I like names that don't hint at the style of music. But I didn't figure at the time that Pineapple Thief was a little similar to 'Porcupine Tree' and that we can also both use 'PT'. It was a genuine coincidence and one that is proving to be a little annoying. The last thing I need is to be labelled a Porcupine Tree clone.

What do you think of your two first albums, "Abducting The Unicorn" and "137", in retrospect?

Bruce Soord: When I finished 'Abducting' I remember saying to myself 'how am I going to better this?'. In retrospect, that statement is quite absurd! Yeah, at the time I was pleased with 'Abducting' but now I realise it was a pretty average record. The production is nowhere near as good as 'Variations', neither is the song writing, structure or performance. I still think 'Private Paradise' and 'Parted Forever' are good songs and they sound great live, but they would never pass today in their current recorded form, which is a nice thought. '137' was the period during which I tackled the musical learning curve - production, composition and performance. This was largely down to the work I was doing with a producer/writer called 'Steve Coe'. He was a regular at my studio (in fact, he was the ONLY person I did work for) and he was an inspiration to me. He is probably best known for penning 'Ever So Lonely' in the early 80s for his band 'Monsoon' (with Sheila Chandra). This was recently a global hit once more with Jakarta. Over the last 20 years, Steve has been working with his long time partner Sheila Chandra, mainly on solo vocal and vocal/drone performances and has released many albums with Sheila Chandra, mainly on the Real World label. He spent 2 years at my studio writing and compiling drones and most of the work for Sheila Chandra's last album was done there. Over the years we built up a strong friendship and I now realise he was my mentor. He was always interested in my music and his comments and suggestions influenced me more than anyone else. He also had a soft spot for progressive music! But the bottom line is that '137' was the transition for me. I still have a lot to learn but I have very fond memories of the period. Having said that, if I could re-record 137 now, it would be quite different. I would also lose quite a few of the songs (Warm Me, Incubate for example). Still, 'Kid Chameleon' is still one of my favourite Pineapple Thief songs and works even better live.

For "Variations on a Dream", it seems you had a sombre state of mind, and that it is linked with the idea of loss...

Yes - that is very accurate observation. A very good friend of mine died last year from a sudden heart attack at the age of 28. There was no way I could do an album without being profoundly influenced by what was going on. I think it also helped create a more honest album, so I thank my friend for that! I didn't sit down in my studio and think 'what have I got to do to create a good song' - I really didn't care. I just wanted to write some songs that would honestly portray what I was feeling and maybe honour the memory of my friend in some small way. If that meant 3 minutes or 15 minutes, 4/4 or 7/8, it really didn't enter my mind. But the record is certainly a sombre one. Then again, I have always thought that sombre records have become the timeless ones. 'Dark Side of the Moon' isn't exactly a party album is it?

In this respect, also one cannot discover a "concept" in itself, this idea has inspired most of the lyrics of the album, and maybe its title...

Yes, if there is a concept, it is one of loss, grief and the eternal struggle to find meaning in the world. But there is also hope in the album - although it's not always obvious where to find it. 'We Subside' for instance covers the hopelessness of loss but also the importance of living a full life. The title 'Variations on a Dream' was actually suggested by Steve Coe. I think it's a wonderful title that also reflects the 'concept'. Every song is a variation on the world I was in, which more and more was becoming like a dream. When my friend died, nothing seemed real. I looked at the world and couldn't understand it. It was and still is a strange time.

On your website, you mentioned that you were approached by major record companies but that you turned down their offers. Can you explain us what happened?

Well, I wish I was offered something! I would probably have taken it. I read recently that David Fincher (who directed Seven and Fight Club) justified making films like 'The Game' in order to realise his true vision. I was certainly prepared to release a less honest album in order to get the platform to release an important record. Many people may argue against this philosophy but all I wanted was to get my music heard. As it was, I was spending most of 2002 playing to major labels such as Warners, Virgin, Sony etc. Management were telling me to write more songs like 'Warm Me' and 'Incubate' when deep down these are my least favourite Pineapple Thief songs. But it soon became clear that the 'a&r' were only interested in instant hits. Gone are the days when labels are prepared to develop an act. In my opinion, modern rock music has become as sterile and manufactured as traditional pop/girl/boy bands. Listen to MTV2 for an afternoon and you will know! But I guess for every 50 nu-metal/nu-punk clones, at least we get some refreshing music such as what the Deftones are doing now. So in answer to your question, I didn't really turn them down. I just gave up chasing them. After my friend died, I just didn't have the energy to waste on such a fruitless exercise. I decided to lock myself in the studio and make some honest music instead. And I'm very glad I did.

Given the obvious commercial potential of Pineapple Thief, you don't see this decision as a "waste" of your talent?

People keep telling me how much commercial potential we have got and it depresses me to think that with more marketing we could be selling a LOT of records. But while '137' was a progression, 'Variations' seems have reached a new level. I think 'Progressia' is one of the first to review the album - but all the people who pre-ordered 'Variations' absolutely love it. Perhaps this will spread when the album is released and more reviews filter down. I always live in the hope that good music will get 'out there' in the end. But yes, I do get depressed that more people don't get to hear my music. The number of people who tell me that 'all their friends and family, young and old, love the album'; half of me is glad that my songs are reaching out to all kinds of people, half is sad that so many people are missing out.

On "Variations on a Dream", the first comparisons that could be made are with Radiohead and Porcupine Tree. Do you agree with this statement? What are your other influences?

Well, I guess that comparison will always be made. Ever since Neil and I released 'Under the Umbrella' in 1995 we have been compared to Porcupine Tree. I have no idea why - we never even HEARD a Porcupine Tree record until last year, not through musical arrogance on our half but because the last thing we needed was to be directly influenced by a band everyone was saying we sounded like! I think the reason the Radiohead/Porcupine tree connection has been so prevalent is that we are trying to do the same thing - move contemporary rock music into new areas without worrying about popular conventions. The fact that we are both influenced by 70s progressive music is also a factor. But I wouldn't want to release an album of regurgitated ideas from the 70s. With Pineapple Thief, I love traditional instrumentation such as analogue synthesis, mellotrons, orchestral arrangements and pianos. But I also strive to embrace the best modern music has to offer. I guess it's postmodern music. I'm influenced by all kinds of music, from Steve Reich ('Music for 18 Musicians' was an inspiration) to Colin Blunstone, from Ambrosia to Queens of the Stoneage, from Anthony Philips to the Smashing Pumpkins, from the Deftones to Burt Bacharach!

On your vocals, the progress is sticking: you have drift away from the Billy Corgan intonations to a more diverse and personal style. Did you worked a lot on this aspect?

Yes, I did work on this and I'm glad you noticed. When I recorded Abducting, I was listening to 'Adore' by the Pumpkins a lot and it shows. A lot of reviews picked up on this. I was not a particularly experienced singer and I found myself subconsciously emulating the whining tones of Corgan! With 'Variations', my voice has improved so much that I don't need to emulate anyone. The vocal performance has become more honest. I learnt a lot from watching and listening to Steve Coe and Sheila Chandra perfecting vocal performance and melody. But one of the most exciting things about the stuff I am doing now is that my vocals have really developed into an instrument as important as my guitars.

The Pineapple Thief'songs are concise, while Vulgar Unicorn' songs have sometimes a puzzled structure. Do you have a particular way to write for Pineapple Thief, and how do you decide which material is suitable for each band?

That's definitely an accurate observation. The new Vulgar Unicorn album we are recording now is very different to Pineapple Thief. For one, all the songs are different time signatures! Neil's keyboard work steers clear of traditional 70s sounds that are used so extensively with Pineapple Thief. But the truth is, Pineapple Thief songs are based on melody and performance above everything else. The songs are very personal to me alone. I think VU is more progressive and experimental but I am glad that sonically the two projects are very different.

Do you agree when one's says that Pineapple Thief is more a pop band than a progressive band? Are you taking this kind of balance into account during the writing process?

I think that depends how you define pop! There may be a different definition in Europe as 'pop' in the UK embodies manufactured bands. But, if by pop, you mean 'popular' I guess I am guilty in producing 'popular' sounding songs. Like you said in your review, the new album can work on two levels - those who listen to music without giving it a second thought, and those who are looking for something more. One thing that strikes me is that everyone seems to like the songs, even people who don't consciously analyse the music. If you look at the global success of Radiohead, these are fans who love the melody and originality of the band. They don't sit there and say 'that guitar line is really interesting' or 'the way this song modulates into the outro is outstanding' or anything like that! They just like the music in an unpretentious way. But Radiohead ARE a complex and progressive band so they can reach out to 'serious' music lovers also. This is what I am trying to do. I don't think picking weird time signatures or writing complex and musically demanding arrangements is necessarily the ticket to progressing music. To me, if I can move someone with sound then the job is done.

What is the level of involvement of the rest of the band in Pineapple Thief?

Up until now, the involvement is very small. The last album was recorded over a long time and with little help from anyone else. The band has just been formed so I can take Pineapple Thief on the road, although I definitely want the band to have an input into the next release.

The production and the arrangements are definitely better and more planned than on your previous albums...

Well thanks! If they weren't I'd be pretty depressed. It all boils down to the teachings of Steve Coe. Production, arrangement, performance. I listen to Abducting and realise how little time I dedicated to this. OK, so song writing is a learning curve, but I am no genius! I think the reason things have progressed so quickly is because I am passionate about music - not a day goes by without melodies swimming around in my head, without racking my brain where to take my songs and ideas. I'm proud I have a passion, but it can be a curse. Sometimes I wish I could switch off and watch the football or spend all my waking hours in the pub! I can't even go on holiday without thinking about my music...

Can you explain us the idea that gave birth to the "8 Days" bonus CD? Was it a challenge to take up?

Malcolm Parker at Cyclops offered me a limited run bonus CD and asked me to put 'live or unreleased' sutff on it. But I didn't see the point of releasing music I didn't think was 'fit for purpose'. So, I set myself the challenge. It was fun but exhausting. At the end of the 8 days I thought I was going mad! But I listen back to it now and it does sound quite fresh, even though none of the songs would make it onto a dedicated album in their current form. It's weird though - when I listen to each song, even now, I can remember vividly every detail about every day. It's quite unsettling.

What is your approach to a live set? Are you rehearsing a lot for this summer's festivals?

Yeah, I have got a great 5 piece together and we're really looking forward to taking Pineapple Thief on the road. I have spent a LOT of time sorting out the orchestral and synth sounds as I want to recreate the album as faithfully as possible. The live set is sounding amazing and I can't wait for people to hear it. It's a lot of fun performing my songs with the band and they are bringing some really fresh ideas and performances into the pot.

What can we expect from the band in the next few months or years?

Well, the plan is to record a fourth album at the end of 2003. This time, I am going to demo my songs with the band at a small local studio so they can have a direct input. Then, we are off to a major studio, hopefully with an engineer/producer called 'Head' (most famous for his work with PJ Harvey and Therapy?). I am looking to take Pineapple Thief to the next level. There is ALWAYS another level....