Let me make this clear: I am a devoted JETHRO TULL fan. With that in mind, you can imagine my excitement when, a month ago, the joyous news of the release of the legendary band’s 24th studio album was confirmed with the digital launch of its title track, accompanied by a video by Costin Chioreanu, who also created the amazing video for “Ginnungagap” from the band’s previous album, “RökFlöte”.
Yes, following 2022’s “The Zealot Gene” and 2023’s “RökFlöte”, JETHRO TULL continues an impressive streak of releases with a brand-new album this year, titled “Curious Ruminant”. When, in July 2021—shortly after the 50th anniversary of 1971’s emblematic “Aqualung”—it was announced that the band had signed with Inside Out Music, I could never have imagined, even in my wildest dreams, that I would add three new JETHRO TULL albums to my collection in the next four years. Let’s not forget that “The Zealot Gene” was the band’s first album with all-original material since 1999’s “J-Tull Dot Com”—a staggering 22 years without a new release, with only the festive “The Jethro Tull Christmas Album” of 2003 breaking the silence!
Thank goodness, the once-unstoppable folk/prog locomotive has once again entered a creative overdrive!
Of course, “The Zealot Gene” was also the first album without guitarist Martin Barre since he joined the band on “Stand Up” (1969). However, Ian Anderson’s unwavering inspiration, his appetite for new material, his invaluable experience, and his meticulous selection of collaborators filled the void, allowing the band to move forward with its signature style intact. The latest releases have retained the sound and feel of Anderson’s recent solo work—namely the magnificent “Thick As A Brick 2” (2012) and “Homo Erraticus” (2014).
Yes, I liked “The Zealot Gene” , and yes, I liked “RökFlöte” even more. So, what were my hopes and expectations for the new album? First and foremost, a deeper dive into the past to highlight the band’s rich legacy—a glance backward to gain momentum for bigger leaps forward! I also hoped for bolder compositions, something outside Ian Anderson‘s usual comfort zone. Lastly, I wished for a more intriguing tracklist, an unexpected twist, a surprise lurking where you least expect it!
Well, I am pleased to say that “Curious Ruminant” delivers all of the above in a way that truly impressed me!
Consisting of nine new tracks varying in length from two and a half minutes to almost seventeen minutes, this is an album of mostly full-band music. Among the musicians featured are former keyboardist Andrew Giddings and drummer James Duncan, alongside the current lineup: Ian Anderson (flute, guitar, bouzouki, mandolin, harmonica, and vocals), David Goodier (bass guitar and double bass), John O’Hara (orchestral conductor, piano, keyboards, and accordion), Scott Hammond (drums and percussion), and, making his recording debut with the band, guitarist Jack Clark.
Ian Anderson had been saying for months following the release of “RökFlöte” that he would embark on a new project in late 2023. He waited only a few weeks before the first ideas began to solidify into drafted words of intent. By May 2024, some unfinished music recorded earlier with John O’Hara, David Goodier, and James Duncan became the foundation upon which the new songs took shape.
The evolution and development of the album, both musically and lyrically, blossomed quickly and yielded fascinating results. Ian Anderson takes on a more personal and introspective lyrical approach, while the music showcases a beautifully cohesive ensemble, reflecting a successful collaborative effort. This is perhaps the key distinction that sets this album apart from its two predecessors.
Some of the songs stem from unfinished instrumental demos made years ago, yet this does not result in any jarring stylistic divides for the listener. Alongside the signature flute solos and melodies, accordion, mandolin, acoustic, and tenor guitars feature prominently on several tracks, subtly reinforcing the 70s Tull heritage. Since this particular element was somewhat lacking in the band’s recent works, it elevates “Curious Ruminant” to a superior level.
“Puppet And The Puppet Master”, with its intertwining piano and flute dancing over a swirling rhythm before embracing the accordion, is one of the best opening tracks in JETHRO TULL’s entire discography. Ian describes this as a song of mutual manipulation. So, who is pulling the strings? Just as the performer on stage is controlling the audience but while they are also, in another way, controlling the performer. The pleasant tug of the puppeteer and the lure of the crowd continue to have allure. The black box stage waits to burst into life.
The title track, “Curious Ruminant”, melancholic and nostalgic, stands as a lyrical introspection that quickly confirms the album’s remarkable craftsmanship and emotional depth. Ruminant can mean a contemplative, meditative person. The more common reference – an even-toed ungulate who chews the regurgitated cud and has a three or four-chambered stomach – may not apply to Ian, even on a bad day, but contemplation is most certainly the name of his game.
“Asking “Why am I here?”
Answering “Why am I anywhere?”
Orbiting construct of Jung and Freud
Psycho dreaming asteroid”
The more cheerful and folk-infused “Dunsinane Hill” follows—a mesmerizingly gentle song that takes the listener on a beautiful auditory journey. There are the obvious metaphorical references to Shakespeare’s Macbeth and the coming of Birnam Wood to Dunsinane which fascinated Anderson, since the emblem of the Anderson clan is an oak tree with the motto, “Stand Sure”. The Macbeth tale is imagined here as deeds of high intrigue and betrayal between two political party brothers: perhaps Blair and Brown? Sunak and Johnson? Starmer and Corbyn? Who knows?
At this point, I was convinced: “Curious Ruminant” is a truly great and special album!
“The Tipu House” is a more rhythmic and characteristic piece of the band’s later years, yet it carries a freshness and intensity that make it a perfect fit for the tracklist. Here is visualised a graffitied apartment house with Tipuana tipu trees outside to offer shade surrounding a public recreation space for children to play and kick a ball about. The chorus line mentions “the day of books and roses” which is a reference to Sant Jordi’s day – the April festival in Barcelona which celebrates the tradition of lovers giving books and roses to each other. Anderson sings of those who have risen from relative poverty to positions of greatness in the world.
Next comes the melodic “Savannah of Paddington Green” and the playful “The Stygian Hand”, before reaching the epic “Over Jerusalem”, where Jack Clark’s electric guitar delivers an outstanding performance, full of effortless yet distinctive character.
“Savannah of Paddington Green” is described as song of change and bleak prediction in the face of climate change. Paddington Green is one of historic London’s formerly outlying small green spaces and is now a conservation-listed urban haven. This dystopian vision of the desolate, cracked dual-carriage Westway as it descends before rising again to become the Marylebone flyover may seem still a distant prediction, one which we will hopefully not live to see.
“The Stygian Hand” is a song of symbolic protection. We all have experienced at some point that moment of dread when venturing down some darkened alleyway in the late hours and sensing the soft tread of someone following or stepping towards us from the gathering shadows. Some pumped-up mugger with a pointy blade chancing his luck? A sexual marauder looking for predatory release? Or something altogether more sinister and supernatural?
“Over Jerusalem” was written as a song for a city of wasted opportunity.
JETHRO TULL have visited Jerusalem to perform in concert and in Israel generally many times since 1986 and have felt growing distress at the political, social and cultural dilemmas facing all in the region. After the first visit or two, Ian Anderson decided to continue to perform there but to donate all proceeds to various local NGOs: mostly to those supporting co-education of Arabs, Jews and Christians and often with a musical bias. Faced with demands to boycott Israel or support Palestinian had caused Ian to do some serious thinking. Alternatives were either to not visit at all; to go and then pocket the Artist Fee or to try to make some tiny difference in helping to bring about a little harmony and common resolve.
And then comes “Drink From The Same Well”, an almost 17-minute track that literally brought tears of joy to my eyes! A two-minute elegiac introduction gives way to an incredible rhythmic unraveling of a melody that only JETHRO TULL could craft, followed by a spectacular outburst of musical expression—a monumental piece that once again teaches the timeless and unparalleled values of the JETHRO TULL school! After eight minutes of instrumental brilliance, where the entire band showcases breathtaking musicianship, Ian Anderson’s voice enters to complete this masterpiece in the most soulful and magnificent way!
This is a song of no choice; an epic piece of music developed from an earlier idea on which Ian had worked long and hard twenty years before. It featured on a lengthy demo made with the then Tull keyboard player Andrew Giddings and was written as a potential collaboration with pandit Hariprasad Chaurasia, renowned player of the bansuri (Indian bamboo flute). Many years later, Ian Anderson developed the lyrics and new melody to provide listeners with a stellar virtuoso performance on both his concert and bamboo flutes. Some of the original flute along with Andrew’s piano and accordion remain on the final master here.
The album concludes with “Interim Sleep”, a spoken-word gem and a brilliantly inspired way to close such a unique and wonderful record.
It was written to be a song of comfort for the bereaved. Ian Anderson wrote a poem a year or two ago, he says, touching upon the passing of a loved one with thoughts he might extend to those left behind – that we may be reunited in other lives to come.
The PERFECT ending for an album!
So, with a deep bow to the musical genius that is Ian Anderson, I extend a heartfelt THANK YOU to every member of this band for all the unforgettable emotions they have given us—our world would not be the same without JETHRO TULL, and it would undoubtedly be a far duller, less imaginative place to live in!
This is their finest album since the 70s, surpassing both the majestic “The Broadsword and the Beast” and Grammy-winner “Crest of a Knave”; PURE, HEAVENLY JOY!
“Curious Ruminant” will be released on March 7th on several different formats by Inside Out Music, including a Ltd Deluxe Ultra Clear Double LP, double CD & Blu-ray Artbook, and Ltd Deluxe double CD & Blu-ray Artbook; the album will also be available as a Special Edition CD Digipak, Gatefold 180g LP, and as Digital Album (in both stereo & Dolby Atmos).
Check the discussion about the album in our forum pages.
You can pre-order the Ltd Deluxe Boxes, CD and LP here.
