“When you have conflict, the truth gets bent and kicked around, the facts get changed. That’s why people argue or get divorced or fight – because nobody can agree on what the truth is. That idea of different versions of the truth especially applies to the world we’re living in right now. All these things are happening where nobody has any idea of what the real truth of anything is because everything is so distorted.”
The words of The Pineapple Thief’s Bruce Soord, ahead of their 13th album, Versions Of Truth. A mirror to the state of the world, a reflection of feelings and responses across the globe in a time of chaos, uncertainty, and intolerance. If ever a band was able to provide that window, it would be the Yeovil based outfit. As challenging as it was to top their previous studio releases, especially Dissolution and Your Wilderness that preceded this, then this may well be that album.
If you are familiar with the band, then I defy you to be anything less than satisfied with the crafted works on offer here. Their music appears effortless, mainly because of the minimalist passages that spread throughout the tracks, interspersed with explosive climaxes, soaring sonic soundscapes which are provided with the most reserved of delivery. The Pineapple Thief don’t do heavy, yet their sound is at times as crushing as the most ferocious death metal outfit. It’s emotional from start to finish, immersive and absorbing.
The opening salvo in this 45-minute opus contains the dark title track. Written almost two years ago, Soord could not have visualised just how accurate his words would become. That’s followed by the addictive rhythms of Break It All, attempting to make sense of narcissistic destruction and the fallout.
First single from the album Demons features those trademark pensive choruses, echoing sole notes that strike deep, emotive vocals and subtle intricate interwoven segments that you need to search for, but which reward richly when found. Apart from Our Mire, this is no extended progressive meandering. In fact, only two of the songs on Versions Of Truth stray over the five-minute mark, meaning that Soord and his fellow band members, keyboardist Steve Kitch, bassist Jon Sykes and drummer Gavin Harrison get their message across without fuss. Driving Like Maniacs reflects a friendship doomed to failure. The lyrical content speaking for itself throughout the album.
What is evidenced once more is the quality that these four exceptional musicians bring to the band. Working as a unit, the cohesiveness is clear within each track. The production is perfect, as one might expect, but it’s the simple delivery that makes Versions Of The Truth such a magnificent album. The gentle poignancy of Too Many Voices, the personal reflections of a relationship breakdown in Our Mire, the despair of Out Of Line and the harrowing, melancholy of closing song The Game.
Running the gamut of sentiments and emotions, The Pineapple Thief continue to produce thought provoking music that stands apart from their peers. Versions Of The Truth maintains the quality that the band are internationally renowned for. Variety delivered in a dignified and controlled manner. This may be a height that the band have never scaled before. Given the music that has gone before them, this is truly incredible. 10/10
Rising Steel: Fight Them All (Frontiers Records) [Simon Black]
New Day, new band to discover - which is one of the best parts about this (unpaid) job. This is the second album from this 5-piece French Metal outfit, whom I had not come across previously. When I first looked at this the band’s name and the cover made me feel that I was about to get another generic Power metal band, but I was presently surprised by what’s been recorded. For a start, this is a much more Heavy Metal/Thrash influenced acts with a gruff but clean vocal style and a singer with a surprising amount of power in his voice. Sound wise this is a band with clear 80’s influences – a bit of early Maiden and Metallica, lots of Accept and a healthy dollop of NWOBHM era Priest. You have to bear with them, as two of the weaker tracks actually open the album but by the time that we get to the cheesily titled Steel Hammer they’ve definitely found their groove. There are a few Power tropes in there too lyrically if nothing else and a subtle use of keyboards to add depth on a couple of tracks, but otherwise this is out and out Metal and refreshingly so.
It’s worth noting that the only track this approach is used on Gloomy World, is far and above the best on the album. Malefice feels much more Thrashy in terms of staccato delivery, if not speed but works well. The cringeworthy titled Pussy is pure 80’s heavy sleaze, and has a surprisingly catchy riff, even if the lyrics make you want to bury your head in your hands. For infectious riffage you can’t beat Led By Judas however which actually brings the guitars a bit more in to focus. The album closer Master Control is a bit more 80’s thrash in terms of time changes and structure but worth hanging on for. The album is straight metal all the way through, with nothing really slow and certainly nothing balledic in site. When in fine form the sheer heaviness of the rhythms, driving riffage and power of vocal delivery make this a largely enjoyable (if not consistent) listen. 6/10
Aenemica: Secret Lines (Self Released) [Alex Swift]
You might say that my taste in progressive metal traverses the traditional boundaries of complex vs. accessible and seeks to see how bands combine the two. Those I consider my favourites often eloquently combine intricacy with melody, memorability, and theatricality to create a truly immersive soundscape. On their second album, German prog start-ups Aenemica appears to bring this sound to life. Conscious of the very short run length – at only just over 30 minutes, Secret Lines is aiming for making an impression, over giving the listener a long yet satisfying sit - I listened to 2014’s Empty Inside. I found an affable mix of impressively technical rock, akin to the math-rock and djent movements, and soaring bombast which drew on everything from alt-metal to symphonic. Those elements definitely carry forward on to this release as well. Every moment is succinctly-penned and beautifully-executed.
This might not gratify some of the most ardent defenders of difficult-to-broach prog - it’s all incredibly refined and understandable yet not in an alienating, over simplistic sense of the style. The melodies are charming and dreamlike, the rhythm section powerful yet measured, and the guitars fascinating in their emotion-capturing essence. Aenemica seems like a very musically cultured act in what they’re striving to achieve by which I mean that they honour influences from across the musical spectrum, while never once insulting the listener's intelligence or allowing themselves to become carried away with one direction or another. These anthems are unique in that they make an impression straight away, yet also bear enough cleverness and nuance to make the listener come back to find anything they might of missed. 7/10
Landfall: The Turning Point (Frontiers Records) [Matt Bladen]
Featuring former Auras singer Gui Oliver, Landfall signed to Frontiers Music to release their debut release. Much like with most of the bands that join the label it's a perfect fit mainly due to the fact that Oliver's voice has been likened to Steve Perry with a touch of Don Dokken and Mike Tramp grit for good measure. So then Landfall playing slick melodic rock/AOR that sounds like an amalgamation of Journey, White Lion and Dokken is a no-brainer, that Journey sound comes through on Road Of Dreams and Distant Love but the band show their heavier side on tracks such as Rush Hour and the chugging Across The Street.
Featuring former Auras singer Gui Oliver, Landfall signed to Frontiers Music to release their debut release. Much like with most of the bands that join the label it's a perfect fit mainly due to the fact that Oliver's voice has been likened to Steve Perry with a touch of Don Dokken and Mike Tramp grit for good measure. So then Landfall playing slick melodic rock/AOR that sounds like an amalgamation of Journey, White Lion and Dokken is a no-brainer, that Journey sound comes through on Road Of Dreams and Distant Love but the band show their heavier side on tracks such as Rush Hour and the chugging Across The Street.
Formed by drummer Felipe Souzza (drums) and Marcelo Gelbcke (guitar), the band was originally called W.I.L.D. they added Thiago Forbeci it was only when they joined with Oliver that they forged on with the musical style on this album writing and touring around their native Brazil, crafting this album of bouncy melodic rockers like Taxi Driver and big ballads such as Don't Come Easy. It's a must for fans of classic Journey due to the vocals of Oliver but it's got the rockier sounds of the current version of the band as the synths cut through on Roundabout and Road Of Dreams making things much more anthemic. As I said earlier it's super slick, well performed and draws from one of the genre leaders, very much The Turning Point for Landfall as it's a strong debut. 7/10
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