Despite its members balancing multiple projects (both instrumentally and behind the scenes), The Pineapple Thief is one of the most productive and efficient bands around, cranking out a new album every year or two – sometimes even releasing an EP or live compilation within the same year. Due September 4th, their contribution to 2020 comes in the form of ‘Versions of the Truth’.
In case you didn’t already know where The Pineapple Thief hail from, any of their albums are a classic example of modern English prog, and ‘Versions of the Truth’ is no exception. In my mind, they are a cross between Porcupine Tree and IQ, the former of course being even more accurate with the addition of incomparable drummer Gavin Harrison in 2016. Even if you disregard his career with Porcupine Tree, this album occasionally reminds me of ‘Deadwing’ in terms of structure and atmosphere.
That in mind, ‘Versions of the Truth’ picks up where 2018’s ‘Dissolution’ left off, but is considerably more mellow and the short tracks (by prog standards) often feel like they never got the chance to reach their final form. Some songs – such as “Leave Me Be” – start to build but inevitably sit too long on a potentially enticing riff that pretty much stays stagnant. In these scenarios, there is much repetition where there could have been a larger climax. Of course, instrumentally there is always going to be repetition, but it becomes noticeable when it’s in the form of lyrics. According to the band, this is a more thought-provoking and emotive record, which would explain the lack of instrumental build, but raise question marks in regard to certain lyrics being repeated for bars and bars.
As the founding vocalist, guitarist, and composer Bruce Soord states, ‘Versions of the Truth’ focuses on lyrical themes surrounding just that: the truth, and the inevitable conflict of perception. The title track, of course, touches upon this, the chorus is mainly comprised of the sentiment, “it’s not how I remember it”. As this lyric becomes prevalent, the addition of what sounds like marimba over Harrison’s gorgeous cymbal work really adds depth to an already bass-y groove. This, along with the two singles, “Break It All” and “Demons”, are the highlights of the album for me, being the most “progressive” and layered tracks. I also enjoyed “Our Mire” right off the bat. Upbeat funkiness from Harrison’s constant hi-hat, along with bassist Jon Sykes, creates an excellent hook, with Steve Kitch’s keys providing perfect flowing support, and Soord’s vocals and guitars blanketing everything nicely. The parting melody ties it all together in a beautifully haunting sort of way.
Tracks like “Driving Like Maniacs” and “Too Many Voices” sound like they would be highly entertaining, however, I find them to be somewhat disappointing and uneventful. “Stop Making Sense” started out similarly, but with help from the percussion and keyboard grows into a rather catchy yet paced rhythm that definitely grew on me.
Overall, ‘Versions of the Truth’ is a solid Pineapple Thief record, bringing the emotional lure that British progressive rock is known for – and quite honestly, Gavin Harrison makes everything better. The musical execution throughout the album is concrete and distinct, brought to light by a generally even mix, but the album tends to suffer compositionally. Many tracks have the potential to blossom and flourish, but die before they can fully develop. Perhaps I ask too much of my prog these days, and to be fair, the whole point of the genre is to do whatever you want, but I simply find that ‘Versions of the Truth’ is missing something. Like hiking down a path that leads to nowhere, the journey is nice but the experience would be easily heightened by a grand finale at the end of the road. But hey, if you’re looking for a peaceful, calming 45 minutes in your day, this is the album for you.
