Interview
(Progressive Newsletter Nr.46 10/03)
excerpts from an interview with Bruce Soord (Guitars, Vocals, Keyboards)
I think after three albums, I needed to take the 'band' somewhere new. I wanted to get a bass / drum section that worked together, that were at the height of their craft. Each instrument is a craft in it's self and I would a fool to assume I could be master of all. I wanted to get a producer / engineer who could push the boundaries in the studio leaving me to worry about the music. Another reason was so I could take the music on the road. It's great fun, and being in a band with such goods friends has created really good vibes, so it bodes well for the next album. It all feels like a natural progression for me really…
In retrospect, what do you think about the development Pineapple Thief took over the three releases so far?
It's been really encouraging. The first album was a 'try anything once' affair. But it did so well I realised I was onto something that could work. But it was also all so distant - I recorded the album in my studio, sent it to Malcolm at Cyclops and that was it - that was the end. It's not until now that I realise that real people actually listened to my music. I read the emails, the fan mail, the reviews, but nothing seemed real until I actually met these people in the flesh. It may sound like a strange thing to say, but at the time, I was in a distant, lonely place. Regarding my opinion of the first album, any musician will look back on older music with a critical ear. Certainly, 'Abducting' is sonically a million miles away from 'Variations' and the songs were slightly naive; I have difficulty listening to it today - but I know a lot of people still rate this album so who am I to judge? However '137', the second album, was to me the first true Pineapple Thief album. Because I knew the band wasn't going to be a one album wonder, I put a vast amount of energy into '137'. A lot of this was navigating the learning curve of song writing and studio production, which is why it took so long to record. I knew what I wanted it to sound like and I knew I had the tools to make it happen. It was really nice to read the reviews, to hear so many people say how far the sound had progressed, and again with 'Variations'. But maybe I should have got the band together after '137'? I don't know, in my heart I feel I am only ready now, to take the next step.
'Variations on a dream' combines all the strong musical ideas and parts of its predecessors and also gained a lot production-wise. Is there something like a master plan of the direction of Pineapple Thief or did this development just happen naturally?
It all happened naturally, I guess my skills just got better with practise. A lot of people ask me for song writing advice and all I can say is to keep writing songs, never stop. Mine have just got better and better. I remember when I was in my teens, I thought I was writing the best songs in the universe - surely if I didn’t sign a million pound record deal now, I never will! But, of course, those very same songs were, in fact, a pile of crap. So, over the years I learnt a lot from working with other musicians, speaking to other engineers and songwriters. I learnt how to apply the fine sheens, to make the music just that little bit better. I have no idea where the melodies come from though, I’m not sure it’s something I can quantify. But one thing I have learnt is to spot a good melody when it makes its merry way out of my brain.
The first limited pressing of 'Variations on a dream' included a bonus CD called '8 days'. Can you tell a little bit more what's hiding behind this CD?
Yeah - 8 Days. I think for such a limited pressing, this little disc has been quite a talking point! Well, Cyclops said to me I could have a limited edition double CD. They wanted unreleased, live, remixes etc. I thought that was a waste of time, there must be something more worthwhile to do, even though there will only ever be 1000 copies out there. So, I had the barmy idea of writing an album in 8 days. I know this kind of thing has been done before, but the reason I decided to do it was so I could create a unique disc, with strict time constraints. I recorded the ambience outside the studio each day and it’s quite eerie to listen back. The fact that the disc actually covers 8 days is quite unsettling - I can remember each day vividly and it is a stark reminder how fast time slips by. 8 days, an entire life, what’s the difference?
Does it annoy you that your music is compared to other bands or is it more challenge to work even harder for an own sound?
It IS annoying, but I don’t think any band can get away from comparisons. I write progressive, song based, sometimes melancholic rock. I don’t think it sounds like Radiohead, but to many people, that’s the closest they can get. I don’t think it sounds like Floyd but if I do a guitar solo - I prefer to call them melodies - the comparisons are made. And I don’t think it sounds like Porcupine Tree but to many they are the only other band that is within touching distance. But the fact is, how many bands can you name who are writing song based progressive music? Most music I hear is either very technical in the style of Yes, or very symphonic and instrumental, or very derivative, or very ambient. OK, so people who like Floyd, Elbow, Porcupine Tree will probably like my stuff as well, but is that to say we sound similar? To be honest, I’m past caring! I am going into the next album with an open mind and open heart. What comes out will be sincere, but if people say it ‘sounds like someone else’, then so be it. If someone has any suggestions on a better way of writing an album, I’d like to hear it - surely, going out of your way to ensure your sound is unique is contrived. It is not conducive to writing honest music, which is all I want to do.
I think it's a shame that your music doesn't get greater attention, because it really shows commercial potential in a positive way. Do you still try to get in contact with a bigger label or is it more important for you to stay independent and don't have to make any compromises at all regarding your musical ideas?
Why thanks! I agree, it’s a shame. We danced with the major labels like so many other acts, but no one was willing to commit to such a risky band, without singles or instant chart potential. There is no way I would ever compromise my musical ideas, not now, so the idea of working with a major is not one I contemplate. But I know I could do with better support. So many people email me saying how hard it is to get hold of my music - and that’s a tragedy to me. I will probably try and find more promotion for the next album as it’s going to have great potential, with a top producer and engineer and my new, very talented band. But I think Malcolm at Cyclops deserves success as much as we do, so I hope he will always be involved with us.
How difficult is it overall to get attention for your music in the U.K.?
I’d say impossible! The only major publication prepared to cover acts like mine is 'Classic Rock' and maybe ‘Mojo'. Bands like Elbow and The Doves get major press in all the music mags, and usually they get great reviews. But for someone at my level, it’s just impossible to get them to notice. We had a great mention in 'Classic Rock' saying how the new album was the best they had heard for a long time, but no review. That sums it up really. And that’s why we sell most of our cds to Europe and the States…
At the Whitchurch Music Festival in August Pineapple Thief played their first gig. How did it go and what is planned on the live sector in the future?
It was our first gig, so it could certainly have been slicker. But it went down amazingly well. We really didn’t know what to expect - we are not a traditional progressive act. But the reaction was overwhelming and we sold a truckload of merchandise. Similarly in France - we were playing with traditional progressive bands - Änglagård for example. An absolutely stunning band but a million miles away from what we are doing. So, we were apprehensive how we were going to go down - but we completely won the crowd over. It’s nice to know people have open minds. As for the future, we just want to play as many worthwhile shows as we can and build up a fan base we know is out there…
Kristian Selm © Progressive Newsletter 2003