Whilst many of the great prog acts of the Seventies have become increasingly less prolific in their studio output over time, Ian Anderson and his band (since once more raising the banner of ‘Jethro Tull’) have released three studio albums in three years. This is the kind of compositional work schedule one expects of a new band, not a band currently in their fifty-sixth year. More than that, though, when bands release albums too frequently one often finds the quality of the material somewhat patchy. What a pleasure, then, to see just how far the muses have blessed Anderson and co. on these latest efforts.
I must admit to being very partial to 2022’s The Zealot Gene. The quality of the writing was superb and the songs, though lacking the punchy rock of some of their Eighties output, were quietly stated, melodically intricate affairs which I came back to repeatedly. The Tull name was back for the first time since the similarly excellent 2003 Jethro Tull Christmas Album with a record that easily found a place in my top five albums at the end of that year. 2023’s RökFlöte offered another slice of high-quality prog folk, even if it wasn’t quite the equal of its predecessor.
Here we are in early 2025, celebrating the latest of these late-career efforts – and what a beauty it is. Easily Tull’s best album in thirty years, which, like The Zealot Gene, reflects on many aspects of the band’s career. Overall, I would say this latest album shares most common ground with their folk trilogy of the late Seventies and, perhaps, the rockier sound of the band from Crest Of A Knave onwards. There’s no central concept this time round; just nine tracks of wildly different lengths to delight.
Opener Puppet And The Puppet Master starts with a beautiful piano piece before bursting into an up-tempo folk rocker, rich with flute, piano and accordion melodies. The solo intersperses electric guitar, flute and organ. In its brief four-minute runtime it manages to conjure up memories of Tull’s brighter and more melodic output of the Seventies, Eighties and Nineties. The title track, and lead single, Curious Ruminant, is the album’s standout. Anthemic, melodic rock calls to mind 1989’s album Rock Island, with moody keyboard lines and electric guitar riffs aplenty. The instruments complement each other superbly here and the two guitar solos are soaring and beautiful.
Dunsinane Hill, which imagines a political rivalry set against the backdrop of Shakespeare’s ‘Macbeth’, slows the pace down a little and relies heavily on the accordion and flute pairing. There’s a marching beat that kicks in which makes one think of Birnam Wood marching on the hill. As with the title track, and indeed most of what’s on offer here, there is a mix of sung and spoken lyrics, reflecting what Anderson is able to do with his voice. I have no objection to this myself, and it seems to fit the music well. The second single, The Tipu House, is bettered on this album only by the title track. Musically, this is a gloriously uplifting and melodic piece. The verses are driven by the mandolin and flute, whilst the equally urgent chorus is powered by the accordion. Lyrically, Anderson shows us that he has lost none of his skill in social commentary. It makes for a breathless three-and-a-half minutes.
Like many others in the prog world, Anderson uses his art to show his concern for the present state of things. In similar fashion to that paean to the bucolic life which made up 1978’s Heavy Horses, he considers how the scrap of conservation land that is Paddington Green might end up overwhelmed by the West London development around it. With some amount of nostalgia, and a folky compound time signature, we’re treated to this three-minute reflection.
Flute and mandolin burst into life on Stygian Hand, warning of the unknown stranger behind you, at the end of the alley, (in your head?) Anyway, it’s a sterling piece of folk rock which wouldn’t have sounded out of place on Roots To Branches. I’ve been really impressed by the way that the instruments have been so well used on this album, and each given their chance to speak out and accompany in equal measure. Over Jerusalem is a track about the Israel-Palestine crisis which reflects on Tull’s own experiences over the years of playing there and how doing so has sat with them. After two very folky tracks this is much more a straight-ahead electric guitar/keyboard rock song, nevertheless overlaid with Anderson’s impressive flute playing.
Drink From The Same Well is probably best not thought of as a sixteen and a half minute epic. Though there are repeated motifs, this is not a single piece like Crest Of A Knave’s magnificent Budapest. Rather, this is a suite made up of largely instrumental pieces which go back to around the time of the Jethro Tull Christmas Album when Anderson was working with Andrew Giddings. To break it up, it is effectively three instrumental pieces which precede a song which itself incorporates another instrumental piece. All of it is very good, if not quite as memorable as the rest of the album. I do think this could have been shorter and suffered no ill effects for it. Interim Sleep is really a poem read over music about lost loved ones. It’s moving and is further proof of Anderson’s skill as a poet as well as a musician.
Curious Ruminant is a fabulous record which, aside from my misgivings about the length of the album’s epic track, is solidly brilliant across its runtime. None of the tracks are filler, and several of them stand up alongside Jethro Tull’s best. Even at this early stage of the year, I have little doubt this album will be regarded as one of the stand outs of 2025.
TRACK LISTING
1. Puppet And The Puppet Master (4:04)
2. Curious Ruminant (6:00)
3. Dunsinane Hill (4:17)
4. The Tipu House (3:31)
5. Savannah Of Paddington Green (3:13)
6. Stygian Hand (4:16)
7. Over Jerusalem (5:55)
8. Drink From The Same Well (16:42)
9. Interim Sleep (2:33)
Total Time – 50:31
MUSICIANS
Ian Anderson – Flutes, Vocals, Acoustic & Tenor Guitars, Mandolin, ‘Odds, Sods, Bits & Bobs’
David Goodier – Bass Guitar
John O’Hara – Piano, Keyboards, Accordion
Scott Hammond – Drums
Jack Clark – Electric Guitar
~ With:
James Duncan – Drums, Cajón, Percussion
Andrew Giddings – Piano, Keyboards, Accordion
ADDITIONAL INFO
Record Label: InsideOut Music
Country of Origin: UK
Date of Release: 7th March 2025
LINKS
Jethro Tull – Website | Facebook | Bandcamp [InsideOut Music] | YouTube | X | Instagram
