MAGNOLIA

Fans of British band The Pineapple Thief can regularly enjoy the many interpretations of the progressive alternative rock that this company presents on its albums. The group around singer/guitarist Bruce Soord has already gone through a phase in which the songs were allowed to be longer, with even an epic here and there. The Pineapple Thief also had a period when things got a bit more intense. On 2014 "Magnolia" discussed here, the focus is emphatically on the short, more song-based material. Although we hear a somewhat lower prog content in twelve songs, "Magnolia" is extremely enjoyable and absolutely deserves the title of 'best Pineapple Thief album' that many attribute to it.

At times there is a wonderful explosiveness in the chords and usually a beautiful undercurrent of strings has been added. However, constantly there is this passionate bass playing by Jon Sykes that catches the eye/ear, Daniel Osborne's drums always give you the certainty that everything is going well on the record, just like the guitar and keyboard parts do and of course Soord glues everything strongly together with his melancholy voice. You can actually listen to the musical interpretations without any worries; it's the songs themselves that require most of your attention. There are supposedly twelve pieces and I'll be damned if you don't like any of them.

When you hear the intro to opener Simple As That, you would swear that you are listening to an Anathema album and that feeling never lets go throughout the entire CD. As the songs pass you by, names like Radiohead, Blackfield and Porcupine Tree are added. Despite the fact that these bands have been mentioned as comparison material for years, The Pineapple Thief certainly has its own face and this is clearly reflected in the great sound quality. The guitar extravaganza at the end of the monumental Alone At Sea really adds to this.

As a music fan, I am always looking for 'magic moments', moments that turn the world upside down. "Magnolia" is full of them. We encounter a beautiful one in Don't Tell Me when the strings make themselves heard and Soord plays a stunning guitar melody right across. The strength of the title track, driven by acoustic guitar, lies in its structure; in other words the combination of melody, rhythm and atmosphere is magical in itself. The same can also be said of The One You Left To Die, which competes for the title of 'highlight of the album'. Strong competition can be expected from the dynamic Sense Of Fear that has the intro of intros. What a truly great piece of music. The spicy Breathe also sounds as fresh as a cough drop. Quite a smart move on Soord's part, since "Magnolia" largely deals with modesty.

The album closes with Bond, a beautiful song where the sound of a trumpet refers to the triumphant feeling that "Magnolia" generates.

So the music is great and the sound quality is sublime; the cover art is even more beautiful. Is that possible at all?

Orginally posted on www.progenrock.com