Music Street Journal - 10 Stories Down

By Josh Turner

Overall Review

This album surprised me. I felt earlier works lacked content and the production might have been a little shaky. It was okay back then, but this album brings the group to a new echelon of quality. To put it bluntly, this is extremely good material. The release reminds me of another band with the exact same acronym (that would be Porcupine Tree for those who require direction). It has a solid foundation with much thought put into the architecture, implementation, and design. Altogether, they've laid down a solid foundation and built a strong production on top of it. They just don't manufacture them any tougher. After just one walkthrough, maybe even a glimpse from afar, you'll want to immediately reserve your spot in this luxurious, but unusually resilient high-rise.

Track by Track Review

Prey for Me: Right from the reception, it seems as if we've stumbled upon Porcupine Tree's In Abstentia. It's a real attention-getting opener. Then it goes off in a more contemporary direction. This baby coos to the calm melodies of Goo Goo Dolls' "Name" and shakes its rattle to the angst-ridden rock of Bush's "Comedown." There is also a hint of Matthew Sweet in its formula. This is as good with the parents as it is with the children, mostly because the harmonies are mild-mannered, content, happy, and coherent. The guitars are gentlemanly, but varied, resulting in an authentic down-to-earth personality. There isn't much in this song that's not to like, which makes it the ideal start to the album.

Clapham: While there's nothing radically different in its gears, they've shifted their pole position slightly. This one takes a backseat to the extravagant numbers previously encountered and found later on. It putters around the same course as the pre-qualifier, but takes it at a more relaxed pace. Therefore, it's a clever reenactment of the last race. During the contest, sullen and solicitous lyrics are being broadcast all around. There is less rock candy in the tub, though there are even more of Matthew Sweet's saccharine-coated suckers to be dispersed. I'm convinced the list of influences contain the caged up creatures from Dr. Moreau's island of the Altered Beast. As an added twist, the bridge is darker and more depressing than the enlightened rest. At this point, it satisfies the hunger pangs with a satisfactory snack. The appetizer is served with tortilla chips and a bowl of Gazpacho filled with Little Blue Crunchy Things.

Wretched Soul: It's always timing and if you make a mistake, there's hell to pay. Like the General Lee, this takes an impossible jump, setting itself down in the rough and rocky terrain of Audioslave. It's a mix between the balladic, raging, and the sublime. While it can be as subdued as The Moody Blues, it's as angry as Nirvana in numerous places. After the grunge and grime is removed from the body, they dip their dirty plans in detergent and give it a thorough rinse. With the completion of their delivery, the trunk is empty, but it's ready and waiting for another load of precious moonshine. This is my favorite song on the album as it coasts, cruises, and takes us on an adventurous spin. The chorus is a cut above the balance, keeping the wheels in alignment. Most of the time, it's as busy as Frankie Goes to Hollywood, but there are times it's as forward as the Foo Fighters. While it's worked on in the garage, it's certifiably commercial. There are moments where it's as basic as George Thorogood's "Bad to the Bone", but that only lasts for an instance. In a jiffy, it is lubed and ready to rock down to Eddy Grant's "Electric Avenue." Tom Morello's guttural technique is also in there, giving this sick trick pony an unhindered exhaust and an excess in horsepower. It comes stocked with all these options and as a matter of fact, the alterations are actually quite progressive. If their mainstream intentions restrict them from being bonded, let this only be probationary. All you'll need is this song to cancel out your qualms and sell you on their services.

The World I've Always Dreamed Of: This track is under the control of a domineering sect of synthesizers. It's true intentions flank those of Chroma Key. The keyboards take over the renovation and in the process knock out a supporting wall. The ramparts reverberate with a metallic clang. Next door, pots and pans quickly fall to the floor. After the reconstruction, the synthesizers monopolize the symphonic space. As for the singers, they engineer sophisticated harmonies with one voice front and center and a second situated way, way in the back. This song features many thoughtful chord progressions, which makes it quite appealing. Eventually, the guitars surface with a series of contemplative riffs. They penetrate with the prickly sensation of The Thorns and incorporate an intelligent outline with Owlsley's blissful blueprints. In order to mount the frame, they use an intriguing set of swanky strings and sound effects. The keyboard melodies, on the other hand, are begot from the loins of John Beck. The woodwork is provided by The Carpenters and the oil paintings are hung by The Rembrandts. The list goes on and on. Never fear, I hear even more accessible influences like Matchbox 20 and Everclear in there. While the cartridges might not work on Nintendo, Xbox, or Playstation, they are surely compatible with "So Long, Astoria" by The Ataris. After moving away from the drudgery of commonplace apartment living, it's a scheduled rendezvous over to the real estate agent's office. Offering their assistance, the bodacious BoDeans accompany the broker and the conference over the contracts occurs by way of "Breakfast at Tiffany's." In case you don't already know, this spread was catered exclusively by Deep Blue Something.

Start Your Descent: It might be small, but the Men in Black expose an infinite staircase to heaven hidden within the globe. After unhinging the trapdoor to this universe, we begin our climb down a couple shorter flights of stairs. This happens to be the first in a series of upscale ballads. It's like one of Sugarbomb's softer pieces, but it's not as bombastic as Bully. When pushed, it snitches and turns in the intimidator. As a result, it's a genuine article for Wave America and their "Posterchild for Tragedy". I also find Josh Mayer and RPWL's Crazy Lane referenced in the packet. To bribe the kiddies, it plucks a flawless fruit from the basket of a seemingly harmless Simon Apple and hastily hands it over. During the persuasion, the violins play a tune that's reminiscent of Robbie Steinhardt from Kansas. The tranquil persona of Iona is another influence that's easy to perceive once you get with the program.

My Own Oblivion: It's Evanescence injected with the male hormone and it's fallen victim to gene manipulation. After the transformation, it's closer to Lemon's Change Into Me. It's derivative of Rage Against the Machine, Live, Collective Soul, and Caroline Spine. To give it pizzazz, there is actually a pinch of Red Hot Chili Peppers in the concoction. Before you swallow it down, you might need to sign a release form. I also hear Marilyn Manson, Gravity Kills, and Stabbing Westward in this sultry song. It's uncanny how it covers this eclectic range, yet cowers in the comfort zone. It never gets too zesty nor does it hold back on the heat. The toxic juices barely touch the taste buds, but it's enough to wake up the tongue. If you decrement by one and go down a single story, you come across Nine Inch Nails "Closer." The animal of this tenant has a voracious appetite, quickly polishing off the leftovers. With Rob Zombie as its trainer, it's truly tempted to bite the hand that feeds.

It's Just You and Me: This is another perverse mix. I hear Ray Wilson's "The Actor" over the tenuous trapeze wires of Opeth's "Damnation." The drummer skedaddles along like Porcupine Tree's previous sticks man, Chris Maitland. During all this depression, the guitars find time to make jovial gestures and cheer us up.

The Answers: When reprising Humpty Dumpty's sad story, it tries to the put the broken pieces back together. It takes the chorus that's so good earlier on and incorporates it in a muted manner. This time it's accompanied by an acoustic guitar and a succession of string arrangements. It's not as verbose about its opinions or as wordy about its advice. There seems to be a change in attitude and temper upon the arrival of its latest revelations. The answers aren't important, but it's hard to let go. It's crucial to stay the course as the coping will ultimately lead for resolve. With patience, it's possible and promising to rekindle the intimate relationship with the Redhead from Bleu.

From Where You're Standing: You'll contract a communicable disease as soon as it fills your lungs. When that happens, this catchy ailment will steal your last breath. The cogs creak like the spokes in a caboose that's coupled with a crazy train. In this power pop, I hear The Churchill's, Tom Petty, and Spiraling squeak from the rails as this freight car is aggressively forced down the track. As soon as it settles down, RPWL reappears once again in the wrap-up.

Light Up Your Eyes:

I: This is the first half of the fifteen minute epic. It toils around the living room for a while, entertaining guests with lush and sweeping passages. Organs squish through the lava lamp and really lighten up the mood. It's so elated during the upsurge that endorphins are sure to swell inside the noggin. Eventually, it works its way back to the front door and goes outside for a stroll.

Who: Once beyond the repressed memories, the reality is accepted and it's come full circle. This is bittersweet and benevolent, using many familiar themes from bygone bits. However, it's unconventional from what we've encountered earlier on. The frame of mind is just right. It's neither excessive nor benign. The singer chants and hums where verses were at one time expected. In the segue, I hear Transatlantic's "We All Need Some Light" in the acoustic guitars that are planted. Just when it seems the tank is empty and the engine oil is burning, it still manages to keep the momentum going. Doctors work hard to revive the patient. The drill bores into the beat with the skill of arthroscopic tool. While it's precise, it's also a little messy. All is not as it seems at Kingdom Hospital. This stylish horror gets graphic at times, but with enough distance, there is finally relief from the misery. After they repair the most fractious fragments, it's time for the surgeons to take a load off, relax, board a plane, and go on vacation. Following the heartfelt portions of the first, this is the superfluous second helping. It might seem that putting another long song at the end is inappropriate and disproportionate, but the extra dessert is more than justified. While there isn't a bad cut carved from the pie, out of the last two, this is the slightly bigger and better piece. When you see the penthouse suite, you'll realize it's well worth the assessment fee. By itself, this is a great effort by a band, but to add to that, they show a tremendous amount of improvement from their past installments. It's more than a step. Actually, I'd say it's closer to 10 stories tall.

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Prog-nose.org - 10 Stories Down (Choice of the month July 2005)

Apparently Bruce is trying to get away from the comparisons that were often made with Porcupine Tree. The only link they still had with Porcupine Tree were their initials. Now the band is called The Pineapple Thief, that problem has been set aside too. And the music of The Pineapple Thief can ‘no longer' be compared to the sound of Porcupine Tree.

The story of “12 Stories Down” that went down to “10 Stories Down” ;-)

A few months ago, I pre-ordered the newest album of Bruce's band, entitled “12 Stories Down”, with a bonus disc “8 Days Later” included. The only limited about it would be a few bonus tracks, because Bruce promised that this time the extra disc would also be delivered with the official release. Just when I was about to write a review of the album, I received a message that “12 Stories Down” was going to be re-released as “10 Stories Down”; omitting a few songs and re-recording guitars and reproducing the whole thing. Now you can buy the “10 Stories Down” with or without the extra disc, but the first release is the real limited edition now. So there's a link with Porcupine Tree, the real masters of the limited releases, after all. ;-)

But what about the music? Well, The Pineapple Thief has released another great album, although they seem to grow away more and more from the progressive rock scene. Their previous albums weren't exactly examples of progressive rock but the variation in their music and the use of several different keyboard and mellotron sounds kept them within the boundaries of what a progressive rock fan likes. It's not completely gone, because there's still some Mellotron in the background on “Clapham” and during the 15 minutes epic track “Light up your eyes”. One of the best tracks of the album, but it could have been a bit shorter without loosing any of its power. But everything remains very relaxed, very quiet. There could have been some more variation, because every song starts quiet and builds up to an emotional, vocal outburst of Bruce. The music could easily compete with a Radiohead or Smashing Pumpkins album, especially because the vocal style and timbre sound a lot like Thom Yorke. The term Indie rock also comes to mind.

But especially the extra disc, “8 Days Later”, brings this album to a higher level. Just like the previous bonus disc “8 Days”, these tracks were recorded in 8 days, one on each day. And maybe it's this spontaneity that gives the extra touch to these songs.
If you buy this album, don't hesitate to order the double disc edition because this bonus disc is a necessary attachment. Opener “Sunday: Crash” could have been one of the 10 stories. The epic “Tuesday: Haboob” opens as a quiet soundscape but bursts halfway open into an energetic musical storm. “Wednesday: the snail song” is a beautiful ballad. Every track has something special,. sometimes experimental.

If you want to get to know The Pineapple Thief, I think you better purchase “Variations on a Dream” or “137”, but if you are fan of the style, you also need the “10 Stories Down” with the “8 days later” bonus disc. And if you can't get enough of The Pineapple Thief, there's also a EP with the title “4 Stories Down” which contains two tracks from the album, one extra “The Ground Floor” and a remix of the brilliant song “Subside” from the previous album.

Rating: 8.5 / 10

Review by Danny

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10 Stories Down - review by Julien Monsenego on Progressia.com - translated by Ellie

Doing a follow-up to the excellent ‘ Variations on a Dream' was never going to be easy. An ambitious successor was quickly brought out - ‘ 12 Stories Down' was the ‘unofficial' third album of The Pineapple Thief. ‘Unofficial' since it was limited to 1000 copies and not released commercially.

Since 2004, this offering foreshadowed the ‘official' version released this year on Cyclops records. A definitive version that is now available, after a number of delays and which is clearly seen by its principal writer Bruce Soord (vocals, guitars) as the only version worthy of being heard.

If 12 Stories Down was quite a long, complex album scattered with gems and with the added bonus disc, 8 Days Later (written and recorded over the course of one week – each track reflecting the mood of its composer, Bruce, on each day) then ‘ 10 Stories Down' makes for a more effective and concise ensemble.

More effective, since the tracks that are kept to create the 10 stories are clearly the most accessible; like ‘Oblivion' and its likeness to the Smashing Pumpkins or the ‘tubesque' ‘Prey for Me.' The arrival of ‘Wretched Soul,' which was merely a small bonus on the first version, can only be appreciated here – this version is amongst one of the most powerful and best produced songs by The Pineapple Thief. Here the band venture into the realms of Muse, with vocal effects and an absolutely furious guitar solo.

The album is more concise since, with the exception of the other bonus tracks that one finds here, which took second place on ‘ 12SD' and weighed in at more than 15 minutes, the long twists and turns that resemble ‘ Variations' are gone… Say ‘goodbye' to the long, ‘Slip Away' and ‘Take our Hands', which showed a developing taste for lengthy instrumental passages…

On the other hand, we would not have had anything against a refined version of the excellent ‘Catch the Jumping Fool!'

As to the production of the album itself, Bruce Soord, helped by Steve Kitch has emphasised some pieces with subtle additions. The first beneficiary of this expert touch is ‘The World I Always Dreamed Of' with its new unstoppable melody in the background in the form of an electronic bip. This takes on a whole new dimension and puts itself up for the best piece by the band thanks, at the very least, to its fly away finale.

By the same token the long litany that is ‘I Will Light Up Your Eyes, parts I & II' sees itself gripped by an electronic rhythm and beautiful effects, right from the beginning, which fill even the quietest moments of this track.

‘10 Stories Down' , although built around ‘12 SD' is clearly distinguishable thanks to this excellent production and the fact that it is certainly a more balanced album. It enables The Pineapple Thief to move towards mainstream and away from prog, whilst retaining the unique sound of the band – the unstoppable melodies and the voice of Soord.

Julien Monsenego

2.10.05

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DPRP Review - 10 Stories Down

Six months on from the limited edition 12 Stories Down 'work in progress' CD, the new Pineapple Thief CD is ready to be unleashed on the world. Although both releases share a number of song titles, all of the numbers have been re-evaluated, revamped and refined for inclusion on the new album. Although essentially the same songs, and thus many of the remarks made in the DPRP review of 12 Stories Down are still valid, the refining process has in some cases subtly altered the nuances of the songs and in others completed deconstructed and reconstructed them! The new release omits Slip Away , Watch The World (Turn Grey) , Catch The Jumping Fool and Take Our Hands from the 12 Stories Down release but has promoted Wretched Soul and (I Will) Light Up Your Eyes from bonus tracks to full, and in the case of the latter track, radically altered and extended, versions on the new release.

Prey For Me starts things off in brilliant style, with a few tweaks here and there to tighten up the structure it is a powerful opening number and should be excellent on stage. Clapham , the single, sounds altogether more refined, some added keyboards and violin making the song progress in a smoother manner.

Having lived with these tracks for the past six months one has really come to appreciate the strength of the writing, the melody of Clapham being particularly memorable. Wretched Soul , probably the strongest of the three bonus cuts on the limited edition release is welcomingly added to the main disc and will certainly be appreciated by fans of Porcupine Tree sharing similarities with some of that band's recorded work. Again, The World I Always Dreamed Of has minimal modifications, which is no surprise considering it was near perfect in it original version!

Start Your Descent has been remixed, the most immediate change being the introduction where a lone solo acoustic guitar picks out the notes under the violin refrain rather than on the original where it was a bit more cluttered with keyboards and strummed guitar chords. The changes improve the clarity of the number, making it a bit starker, but I suppose it is a matter of individual preference as to what one would consider the more appealing option. However, the Richard Hunt Violin Ensemble really comes to the fore in this piece.

The mood is lifted with the electronica of My Own Oblivion which again is remixed into a more forceful, and menacing format, the guitar biting through the keyboard bass synth line. It's Just You And Me has been shifted down the running order (originally it followed after opening number Prey For Me ) but the fact that it still follows a more up-temp number is significant as the contrast between the heavier ending of My Own Oblivion and the acoustic opening of It's Just You And Me is rather appealing. Following on is the very sedate The Answers , a track originally chosen to end the album. In retrospect it did prove a rather limp ending and so its repositioning is a good move. It is on tracks such as this that the additional work applied to these songs really comes to the fore. The clarity is much improved with distinct separation between instruments. Again the violins really stand out in this track.

From Where You're Standing , another standout song, assembles the ranks of mass guitars gradually building from an acoustic beginning to an all out assault on the ear drums. The fade out takes us into the final track Light Up Your Eyes which has undergone the most radical transformation. From a little over three and a half minutes in its original demo form it has expanded to a two-part fifteen and a half minute mini epic. Essentially the original track has been incorporated into the first part, I . A plaintive piece with drum machine and electric piano it is extended to twice its original length with the title repeated over firstly a rather ambient backing and then the whole band joining in to round off the section. Second section Who (will light up your eyes) starts acoustically using the same melody as the first part but expands on this through the addition, and subsequent subtraction of various instruments. At times it sounds as if it is about to break out into a more electronic rhythm, but pulls back before committing itself. In many ways the effect is not unlike Sigur Ros and quite untypical for Pineapple Thief.

So what is the verdict? Ultimately it is another very strong album from Bruce Soord and one that will delight his growing number of supporters. It is refreshingly different from previous albums, and the extra time in the studio has helped to enliven and clarify the tracks. Well worth a listen and one of my contenders for favourites of 2005 (and it is only June!)

Conclusion: 9 out of 10*

MARK HUGHES

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Axiom of Choice - 10 Stories Down review

The music

The style of prog made by Pineapple Thief hasn't exactly been fully free from alternative influences in the past. Opener Prey For Me is a prime example of that. Having said that, the track slowly develops, shedding its alt influences and moving into a highly energetic climax that moves near postrock. Clapham has more of a traditional ballad feel, with a warmth that slowly builds and envelops. The added strings help in creating the effect.

Wretched Soul picks up sharply on the alt influences, with guitars screeching round the corners at times. But these are tomed in just as easily by Soord's vocals, fired on the same way a moment later.

The World I Always Dreamed Of misses the extremities of its predecessors, being rather melodic and unoffensive, Soord's laid back vocals losing its virtue, failing to spark the music to life. Not until after the well delayed mid section intermezzo does the track start building towards an -admittedly- rather nice bit of climaxing, easily wiping away the memory of the affable start. Even Start Your Descent opens slow as well the added acoustic guitars and sparse strings create an atmosphere that feels quite welcoming.

My Own Oblivion combines hard, jangling guitars with an almost dancy rhythm, thus definitely kicking up the dust. It's Just You And Me returns the melancholy, without bringing the flood of it The Answers does.

Closer Light Up YOur Eyes almost feels like a trip round the repeated singing of its title, swirling through a landscape, slowing down and speeding up again, sounding clear or muffled. Halfway through the track breaks to switch over to an acoustic continuance, which does pick up some but remains a far more tranquil perspective on the theme, floating by, until sparkling, then flaring up once again close to the end.

Conclusion

Like Porcupine Tree, Radiohead or Product the vocalist's dreamy, far-off style of singing lays a firm base for their type of melancholic postrock alternative progressive. And that's been tried before, sure it's been. Despite that I can't help feeling being drawn by the sound every time a band comes up with a set of tracks in the vein. As did Pineapple Thief on this one. Still, I can't help feeling that Product's most recent offering managed to take the concept just a tad further, the compositions feeling just that little bit more intense than those on this album, despite its variation in moods. So, where that was a near brilliant album, this is merely very good. That'll do.

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Babyblaue Prog Reviews

Man hätte es eigentlich schon beim Vorgängeralbum ahnen können. Bislang musste ja immer der Vergleich mit Porcupine Tree herhalten. Aber mit 10 Stories Down positionieren sich Pineapple Thief musikalisch zwischen Bands wie Radiohead, Coldplay, Wilco und auch modernen R.E.M. Ein paar psychedelisch-spacige Klänge wie man es bislang von Pineapple Thief gewohnt war, sind schon noch dabei, aber die hat ja heutzutage u.a. jede der genannten Bands in ihrem Repertoire.

Beim ersten Hören von 12 Stories Down war ich nicht grade begeistert. Denn was da in Erwartung eines köstlichen Nachfolgers von Variations on a Dream aus den Boxen quoll, klang wenig aufregend, irgendwie mehr nach Indie bzw. Alternative Pop als nach New Artrock oder gar Progressive Rock. Aber das war im vergangenen Jahr und es handelte sich ja „nur“ um die mittlerweile vergriffene Fan-Club-CD „12 Stories Down“ inkl. Bonus-CD „8 Days Later“ (plus 3 Extra-Songs).

Für die Veröffentlichung von 10 Stories Down mussten nun 4 Songs von der ersten CD weichen, dafür wurden 2 Songs von der Bonus-CD hinzugefügt. Es wurde der Ablauf der CD komplett verändert und auch die Songs wurden (z.T. deutlich) überarbeitet, sodass sie vom Klang her dazugewonnen haben.

Die Grundstimmung des Albums ist insgesamt bedeckt, geht es inhaltlich doch um das Leiden an der Welt und den Selbstmord (Zehn Stockwerke runter). Hierbei kontrastieren ruhige Stücke mit schrammeligen Riffattacken, die dem Album teils auch eine gewisse Rauheit geben. Sehr stimmungsvoll klingt die Violine, die auf einigen Songs, insbesondere The World I always dreamed of zu hören ist. Hier zeigen sich die Vorzüge der Überarbeitung gegenüber der Fanclub-Ausgabe ganz besonders, denn die Violinenklänge erstrahlen hier geradezu in melancholischer Stimmung und auch die verlängerte Spielzeit hat dem Song gutgetan.

Die Scheibe geht dabei zunächst noch reichlich indie-mäßig los. Da sind zwar schöne Melodien, aber irgendwie will es noch nicht so recht zünden. Das war schon bei 12 Stories down so und hat sich bei 10 Stories down anfangs eher noch dadurch verschärft, dass das überwältigende The World I always dreamed of erst an vierter Stelle kommt. Aber danach bezaubert eben dieses Stück und auch das verträumt-schwelgerische It's just you and me. Nur am Ende übertreiben Bruce Soord und Co. es dann etwas, wenn sie I will light up your Eyes, das auf der Bonus-CD von 12 Stories down noch eine Spielzeit von knapp 4 Minuten hatte, auf über 15 Minuten zerdehnen.

Die rausgekickten Titel von 12 Stories down sind übrigens in etwa ebensogut wie die verbliebenen Titel. Allerdings besteht wohl nur für harte Fans ein Muss sich deswegen auch noch 12 Stories down zuzulegen. Aber harte Fans haben die ja vermutlich eh schon...

Daneben gibt es auch noch eine Single mit dem Titel 4 Stories down.

Bleibt die Frage nach dem Mehrwert der Bonus-CD mit dem fast einstündigen Songcyclus 8 Days later. Dieser ist auf der Bonus-CD der vergriffenen 12 Stories down enthalten, soll aber auch auf der Bonus-CD von 10 Stories down enthalten sein. 8 Days later bietet - in z.T. ausladenden instrumentalen Passagen - mindestens genauso viele schöne Momente und gehobene Songwriterqualität wie Stories down. Sie wirkt auf mich außerdem für Proggies interessanter, weil noch vielschichtiger, deutlicher psychedelisch-spaciger und einfach stärker am Sound der alten Pineapple Thief dran als 10 Stories down. Daher unbedingt auf die Bonus-CD-Ausgabe achten!

Pineapple Thief trennt auf 10 Stories down von der musikalischen Qualität her gesehen praktisch nichts mehr von Bands wie Coldplay oder Radiohead.

Christian Rode

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