The 21st century has been quite the rollercoaster for progressive rock stalwarts Jethro Tull. They spent the better part of 2000s as a touring act, with their only studio release being an album of Christmas music, appropriately titled, The Jethro Tull Christmas Album (2003). In 2012, they unexpectedly folded, only to return in 2017 to commemorate their 50th anniversary…and by “they”, I mean Ian Anderson. Touring with a group of new musicians as Jethro Tull was one thing. Releasing new music under the Jethro Tull moniker without longtime guitarist Martin Barre was another thing.
This unfortunately led to faction among the Tull faithful, with half siding “team Anderson” and the other “team Barre”. Personally, there’s nothing I’d love more than to see these two legends create music again, but until that day comes (if it ever does), I’ll be grateful for whatever music comes our way, regardless of brand. In the case of Anderson, this past Friday saw the release of Jethro Tull’s 22nd studio album, The Zealot Gene. It’s their first in almost 20 years, and first collection of original music since 1999’s J-Tull Dot Com.
Over the course of 55 years, Jethro Tull’s sound has largely been an amalgamation of progressive rock, hard rock, and folk, with some releases leaning more towards one of these genres than another. The Zealot Gene really hits the sweet spot, equally showcasing all three throughout. There’s also many a musical throwback to the various albums and eras of the band. The opening “Mrs. Tibbets” recalls the progressive AOR of The Broadsword and the Beast (1982) with its ripping guitar work and retro synth atmosphere. The pastoral folk trifecta of “Where Did Saturday Go?”, “Three Loves, Three”, and “In Brief Visitation” are a tip of the hat to Songs from the Wood (1977), while the dark and dramatic arrangements of “Mine is the Mountain” and “The Fisherman of Ephesus” scream Aqualung (1971).
In the case of Jethro Tull, the lyrics are equally as important as the music. Anderson delivers, remaining as skeptical and cynical as ever. He’s critical of organized religion (“Barren Beth, Wild Desert John”), political demagogues (“The Zealot Gene”), and the wheels of society altogether (the entire album as a singular piece), perhaps even more so in his mature age. One can listen to those early Tull albums and argue that Anderson was wise beyond his years. Listening to them now, alongside this new album, I’d argue his foresight was 20/20.
While some will say The Zealot Gene is an exercise in blasphemy (and not just for its lyrical content), I view it as a riveting beginning in an exciting new chapter of the never-ending Jethro Tull saga. Anderson’s new incarnation of the band does justice to those of the past. This premiere musicianship, coupled with his ever potent lyricism, is enough to propel The Zealot Gene to the upper echelon of the prog realm in 2022…and it’s only January. Why stay “Living in the Past”, when the future is this promising?
7 out of 10
Label: InsideOut Music
Genre: Progressive Rock
For fans of: Wishbone Ash, Renaissance, Opeth