Jethro Tull are set to release their 23rd studio album, ‘RökFlöte’, on the 21st April 2023 via InsideOutMusic. Following 2022’s ‘The Zealot Gene’, the band’s first album in two decades, Ian Anderson and the band are returning with a 12-track record based on the characters and roles of some of the principle gods of the old Norse paganism, and at the same time exploring the ‘RökFlöte’ – rock flute – which Jethro Tull has made iconic.
With just over two weeks to go till release, today they are pleased to launch the third single taken from the album. Watch the video for ‘Hammer On Hammer’ (by Christian Rios) here:
The track takes inspiration from the god Thor, a loyal & honourable warrior who wears a powerful symbolic belt and wields a hammer. His mortal enemy & nemesis was Jormungand the sea-serpent.
Watch the previously released video for single ‘Ginnungagap’ here:
It was also recently announced that ‘RökFlöte’ would receive its premiere in Dolby Atmos immersive audio on the 17th April at Dolby Studios in London. The special event will see Ian Anderson in attendance alongside Bruce Soord who undertook the mixing for this spatial audio version.
‘RökFlöte’ will be available on several different formats, including two limited deluxe formats that include bonus demo material, extensive liner notes & a blu-ray featuring Dolby Atmos, 5.1 surround sound, alternative stereo mixes by Bruce Soord (The Pineapple Thief), as well as a bonus track and in-depth interview with Ian Anderson. The album will also be available digitally in the spatial audio formats Dolby Atmos & Sony 360 RA. The full list of formats are below:
Ltd Deluxe Dark Red 2LP+2CD+Blu-ray Artbook incl. 2 x art-prints
Ian explains the album’s title & theme in more detail: “The title of this offering went through a little change or two along the way. I started with the idea of a predominantly instrumental album for rock flute – as in rock music. When the subject material of the album presented itself, I was drawn to the term Ragnarök from Norse mythology – their version of apocalyptic end times or Biblical Armageddon. The “final showdown” scenario is ubiquitous and inherent in Hinduism, Christianity and Islam, for example. Ragnarök translates as “destiny of the Gods”, the rök part meaning destiny, course, direction. With umlaut firmly in place, courtesy of the Germanic origins of Old Norse, Flute became Flöte in keeping with the spelling. With me so far? I just can’t miss the glorious opportunity for a good and legitimate umlaut.”
Jethro Tull continue live dates this year, with shows in mainland Europe, as well as a newly announced headline date in London on the 23rd May to celebrate the new album release. They will also return to North America later this year, with the first show in Wolf Trap confirmed and more to be announced in the coming weeks. Find the full list of shows here: https://jethrotull.com/tour-dates/
‘The Zealot Gene’, released in January 2022, was Jethro Tull’s 22nd studio album and it garnered critical acclaim across the board. Reaching #9 in the UK album charts, a feat the band hadn’t reached since 1972, it also debuted at #4 in Germany, #3 in Switzerland, #5 in Austria, #8 in Finland, as well as top 10 in the US Album Charts, Current Album Charts and Rock Album Charts.
With more than 30 albums to their credit and sales totaling more than 60 million, Jethro Tull are one of the most successful rock bands of all-time with a catalog that contains classics that still resonate today. Led by Ian Anderson, Tull still continue to tour throughout the world, entertaining audiences of all ages.
The band consists of:
Ian Anderson – Concert and Alto flutes, Flute d’Amour,
Irish whistle and vocals
David Goodier – Bass guitar
John O’Hara – Piano, keyboards and Hammond Organ
Scott Hammond – Drums.
Joe Parrish-James – Electric and acoustic guitars, mandolin
Jethro Tull recently announced the release of their 23rd studio album, ‘RökFlöte’, on the 21st April 2023 via InsideOutMusic. Following 2022’s ‘The Zealot Gene’, the band’s first album in two decades, Ian Anderson and the band are returning with a 12-track record based on the characters and roles of some of the principle gods of the old Norse paganism, and at the same time exploring the ‘RökFlöte’ – rock flute – which Jethro Tull has made iconic.
Today the band are pleased to launch the second single from the album, ‘The Navigators’. Appearing as a special single edit version, mixed by Bruce Soord (The Pineapple Thief), you can watch the video (created by Christian Rios) here:
The lyrics for this track explored the Norse god Njord, who was the god of wealth, fertility, the sea and seafaring.
Watch the previously released video for single ‘Ginnungagap’ here:
‘RökFlöte’ will be available on several different formats, including two limited deluxe formats that include bonus demo material, extensive liner notes & a blu-ray featuring Dolby Atmos, 5.1 surround sound, alternative stereo mixes by Bruce Soord (The Pineapple Thief), as well as a bonus track and in-depth interview with Ian Anderson. The album will also be available digitally in the spatial audio formats Dolby Atmos & Sony 360 RA. The full list of formats are below:
Ltd Deluxe Dark Red 2LP+2CD+Blu-ray Artbook incl. 2 x art-prints
Ian explains the album’s title & theme in more detail: “The title of this offering went through a little change or two along the way. I started with the idea of a predominantly instrumental album for rock flute – as in rock music. When the subject material of the album presented itself, I was drawn to the term Ragnarök from Norse mythology – their version of apocalyptic end times or Biblical Armageddon. The “final showdown” scenario is ubiquitous and inherent in Hinduism, Christianity and Islam, for example. Ragnarök translates as “destiny of the Gods”, the rök part meaning destiny, course, direction. With umlaut firmly in place, courtesy of the Germanic origins of Old Norse, Flute became Flöte in keeping with the spelling. With me so far? I just can’t miss the glorious opportunity for a good and legitimate umlaut.”
Jethro Tull continue live dates this year, with shows in mainland Europe, as well as a newly announced headline date in London on the 23rd May to celebrate the new album release. They will also return to North America later this year, with the first show in Wolf Trap confirmed and more to be announced in the coming weeks. Find the full list of shows here: https://jethrotull.com/tour-dates/
‘The Zealot Gene’, released in January 2022, was Jethro Tull’s 22nd studio album and it garnered critical acclaim across the board. Reaching #9 in the UK album charts, a feat the band hadn’t reached since 1972, it also debuted at #4 in Germany, #3 in Switzerland, #5 in Austria, #8 in Finland, as well as top 10 in the US Album Charts, Current Album Charts and Rock Album Charts.
With more than 30 albums to their credit and sales totalling more than 60 million, Jethro Tull are one of the most successful rock bands of all-time with a catalogue that contains classics that still resonate today. Led by Ian Anderson, Tull still continue to tour throughout the world, entertaining audiences of all ages.
The band consists of:
Ian Anderson – Concert and Alto flutes, Flute d’Amour,
Irish whistle and vocals
David Goodier – Bass guitar
John O’Hara – Piano, keyboards and Hammond Organ
Scott Hammond – Drums.
Joe Parrish-James – Electric and acoustic guitars, mandolin
Jethro Tull are pleased to announce their 23rd studio album, ‘RökFlöte’, which is set for release on the 21st April 2023 via InsideOutMusic. Following 2022’s ‘The Zealot Gene’, the band’s first album in two decades, Ian Anderson and the band are returning with a 12-track record based on the characters and roles of some of the principle gods of the old Norse paganism, and at the same time exploring the ‘RökFlöte’ – rock flute – which Jethro Tull has made iconic.
Today also sees the launch of the first single from the album, and you can watch the stunning animated video for ‘Ginnungagap’ (created by Costin Chioreanu) here:
The track takes inspiration from the god Ymir, the proto-being, a primeval being, who was born from venom that dripped from the icy rivers called the Élivágar, and lived in the grassless void of Ginnungagap.
‘RökFlöte’ will be available on several different formats, including two limited deluxe formats that include bonus demo material, extensive liner notes & a blu-ray featuring Dolby Atmos, 5.1 surround sound, alternative stereo mixes by Bruce Soord (The Pineapple Thief), as well as a bonus track and in-depth interview with Ian Anderson. The album will also be available digitally in the spatial audio formats Dolby Atmos & Sony 360 RA. The full list of formats are below:
Ltd Deluxe Dark Red 2LP+2CD+Blu-ray Artbook incl. 2 x art-prints
Ian explains the album’s title & theme in more detail: “The title of this offering went through a little change or two along the way. I started with the idea of a predominantly instrumental album for rock flute – as in rock music. When the subject material of the album presented itself, I was drawn to the term Ragnarök from Norse mythology – their version of apocalyptic end times or Biblical Armageddon. The “final showdown” scenario is ubiquitous and inherent in Hinduism, Christianity and Islam, for example. Ragnarök translates as “destiny of the Gods”, the rök part meaning destiny, course, direction. With umlaut firmly in place, courtesy of the Germanic origins of Old Norse, Flute became Flöte in keeping with the spelling. With me so far? I just can’t miss the glorious opportunity for a good and legitimate umlaut.”
Jethro Tull continue live dates this year, with shows in mainland Europe. Find the full list of shows here: https://jethrotull.com/tour-dates/
‘The Zealot Gene’, released in January 2022, was Jethro Tull’s 22nd studio album and it garnered critical acclaim across the board. Reaching #9 in the UK album charts, a feat the band hadn’t reached since 1972, it also debuted at #4 in Germany, #3 in Switzerland, #5 in Austria, #8 in Finland, as well as top 10 in the US Album Charts, Current Album Charts and Rock Album Charts.
With more than 30 albums to their credit and sales totalling more than 50 million, Jethro Tull are one of the most successful rock bands of all-time with a catalogue that contains classics that still resonate today. Led by Ian Anderson, Tull continue to tour throughout the world, entertaining audiences of all ages.
The band consists of:
Ian Anderson – Concert and Alto flutes, Flute d’Amour,
Irish whistle and vocals
David Goodier – Bass guitar
John O’Hara – Piano, keyboards and Hammond Organ
Scott Hammond – Drums.
Joe Parrish-James – Electric and acoustic guitars, mandolin
Jethro Tull have completed work on the recording of their 23rd studio album, following swift on the heels of their critically-acclaimed return earlier this year with ‘The Zealot Gene’, their first album in two decades.
Ian Anderson checks in with the below:
“We have been putting the finishing touches to the artwork for the album cover and wrapped up the recording and mixing a few weeks ago. Due to the usual long wait for vinyl pressing and manufacturing, we are scheduled for an Spring 2023 release but, during the weeks and months to come, you will be hearing more about the record and the various formats which will be available.
It’s a little too early just yet to tease you with titles, tracklists and content, but rest assured that it is all done and dusted as to mastering and the main elements of art and packaging. I hope you will like the concept and themes when I am ready to tell you more. It has been a long and tricky job to get the material recorded during a hectic schedule of touring in these last months. A day here, a day there and the odd burst of a few days together at some points along the way.
I wrote the main themes and lyrics back in January of this year and sent the first demos to the band in February and March, much as I did with The Zealot Gene, back in 2017. Most of the recording took place in June and August with the stereo mixing done in September. My new pal Bruce Soord of The Pineapple Thief undertook to create the surround sound mixes and an alternative stereo mix too.”
Jethro Tull continue live dates this year, with shows in mainland Europe before returning to the UK for their annual Christmas shows, and then further dates in 2023.
‘The Zealot Gene’, released in January 2022, was Jethro Tull’s 22nd studio album and it garnered critical acclaim across the board. Reaching #9 in the UK album charts, a feat the band hadn’t reached since 1972, it also debuted at #4 in Germany, #3 in Switzerland, #5 in Austria, #8 in Finland, as well as top 10 in the US Album Charts, Current Album Charts and Rock Album Charts.
With more than 30 albums to their credit and sales totaling more than 50 million, Jethro Tull are one of the most successful rock bands of all-time with a catalog that contains classics that still resonate today. Led by Ian Anderson, Tull still continue to tour throughout the world, entertaining audiences of all ages.
The band consists of:
Ian Anderson – Flute, acoustic guitar, harmonica, vocals
InsideOutMusic/Sony Music are extremely pleased to announce the signing of progressive rock legends Jethro Tull to the label. The band has already completed a new album titled ‘The Zealot Gene’, which can be expected in early 2022.
Ian Anderson had this to say about the new signing – “After 54 years in the world of music recording, it is with great pleasure that I now sign Jethro Tull to a record company which reminds me, in many ways, of the old Chrysalis label – both as an independent and in its later years in partnership with EMI. Here are real music guys with a passion for the best and most creative in rock music. We look forward to a long and fruitful relationship and more releases to come.”
InsideOutMusic Label Manager Thomas Waber states, “Adding Jethro Tull to the roster is an incredible honour for us. The band are true innovators of the genre and we are looking forward to working with them on their new album. We are sure their countless fans will be as excited about it as we are!”
With more than 30 albums to their credit and sales totaling more than 50 million, Jethro Tull are one of the most successful rock bands of all-time with a catalog that contains classics that still resonate today. Led by Ian Anderson, Tull still continue to tour throughout the world, entertaining audiences of all ages.
The band currently consists of:
Ian Anderson – Flute, acoustic guitar, harmonica, vocals
It was on the 2nd of February 1968 at the world-famous Marquee Club in Wardour Street that Jethro Tull first performed under that name. The group would go on to become one of the most successful and enduring bands of their era, selling over 60 million albums worldwide and entering the cultural collective consciousness along the way.
To celebrate this golden anniversary, Ian Anderson will present 50 years of Jethro Tull in eight UK concerts during April 2018 as part of the worldwide touring schedule.
The debut album, This Was, was released later that same year. Founder, frontman and flautist, Ian Anderson, is rightly credited with introducing the flute to rock as a front line instrument, not to mention the codpiece!
Jethro Tull are one of the biggest selling Progressive Rock artists of all time and their immense and diverse catalogue of work encompasses folk, blues, classical and heavy rock. The anniversary concerts will feature a broad mix of material, some of it focussing on the earlier formative period through to the “heavy hitters” of the Tull catalogue from the albums This Was, Stand Up, Benefit, Aqualung, Thick As A Brick, Too Old To Rock And Roll: Too Young To Die, Songs From The Wood, Heavy Horses, Crest Of A Knave and even a touch of TAAB2 from 2012.
Anderson says: “I am not usually a birthday or anniversary kind of guy but, just for once, I won’t be a party-pooper either! I treasure the memories of the earlier years of Jethro Tull repertoire, associated as it is with the adventures of visiting so many countries for the first time to connect with new fans around the world. And this is a celebration of all the 33 band members who graced our ranks – musicians who brought their talents, skills and styles to bear on the performances live and in the studio. Join me and the current band for a nostalgic evening of varied music, representative of my ever-changing songwriting as our careers progressed through the years.”
Ian Anderson is accompanied by Tull band musicians David Goodier (bass), John O’Hara (keyboards), Florian Opahle (guitar), Scott Hammond (drums) and surprise virtual guests
About Jethro Tull
Formed in 1968, Jethro Tull have released 30 studio and live albums, selling more than 60 million copies worldwide. During their 50-year history, the band has performed over 3,000 concerts in more than 50 countries, playing 100+ concerts each year.
“Look around you. Everything changes. Everything on this earth is in a continuous state of evolving, refining, improving, adapting, enhancing…changing. You were not put on this earth to remain stagnant.”
― Steve Maraboli, Life, the Truth, and Being Free
Yes, everything changes but, in music, sometimes that change either takes what seems like a lifetime or never happens at all. Some of the more established acts could be said to have congealed into their final selves. To be fair, they can often still produce great music but you always know what to expect and that means no more surprises and I for one like a few surprises in my musical journeys.
Tim Bowness has admitted to me himself that he does have a signature sound and it is one that can be heard as the foundation on his previous three solo releases ‘My Hotel Year’ (2004), ‘Abandoned Dancehall Dreams’ (2014) and 2015’s ‘Stupid Things That Mean The World’. 2017 sees him return with a new album, ‘Lost In The Ghost Light’, and a new approach.
Here’s Tim’s thoughts:
“This new album, in some ways, it is quite a departure. There are lots of flutes on it and due to the nature of ‘the concept’, it’s definitely the most traditionally Progressive album I’ve made. It was very much a labour of love and like you say, it ‘felt’like a Tim Bowness album while taking the music into some uncharted places (for me).”
‘Lost In The Ghost Light’ is a concept album revolving around the onstage and backstage reflections of a fictional ‘classic’ Rock musician in the twilight of his career. It is a grand statement about a grand era of music making and an undoubted highlight of Bowness’s career.
Lyrically, the album addresses how the era of streaming and ageing audiences affects creativity, how a life devoted to music impacts on real / family life, and how idealistic beginnings can become compromised by complacency and the fear of being replaced by younger, more vital artists.
Though firmly focused on Bowness’s distinctive voice and musical approach, the album also draws inspiration from the period the concept covers and contains a notable 1970s Symphonic/Progressive Rock influence.
Mixed and mastered by Bowness’s No-Man partner Steven Wilson, ‘Lost In The Ghost Light’ uses a core band comprising Stephen Bennett, Colin Edwin (Porcupine Tree), Bruce Soord (The Pineapple Thief), Hux Nettermalm (Paatos) and Andrew Booker (Sanguine Hum), as well as guests including Kit Watkins (Happy The Man/Camel), Steve Bingham (No-Man) and the legendary Ian Anderson (Jethro Tull). Andrew Keeling (Robert Fripp/Hilliard Ensemble/Evelyn Glennie) arranges for string quartet and flute on three of the album’s
songs.
Jarrod Gosling (I Monster / Cobalt Chapel) provides the fantastically detailed artwork, which includes a visual history of the career of the concept’s subject. Mixed and mastered by Steven Wilson, the special cd/dvd edition also features a 5.1 mix by Bruce Soord.
Tim certainly knows how to start things off with a bang. Opener Worlds Of Yesterday is hypnotic, immersive and mesmerising from the first note, a song that draws you into its soporific embrace to deliver its undoubted charms. The gentle background music has a plaintive guitar note overlaid before Tim’s distinctive vocals begin. His voice is calming and spell-binding at the same time and the beautiful strings that back the chorus work in perfect harmony. The music is full of refined grace and yet the probing guitar that you can hear throughout gives it a questing edge as well. The sedate, ambling keyboards are a delight and the flute just adds another layer of undoubted class, You just have to listen to the run out of this elegant track, it is a brilliant way to close out a song. One for late nights, lights turned down low and something full bodied and red to drink…
Moonshot Manchild opens with a laconic feel, typical Tim Bowness, all laid back vocals and subdued music that gets under your skin in an addictive fashion. There’s a subtle incisiveness running underneath though as the mellow and unhurried music washer over you. Classic 70’s keyboards give a real feeling of wistful nostalgia and a melancholy undertone to the ongoing tale. Tim’s voice has never sounded so good and he really has one of the most serenely relaxed vocal deliveries around. There’s a great keyboard interlude in the middle of the track, pensive and thoughtful asking you to reflect for a moment before the song blossoms out again with a wonderfully carefree and composed instrumental section. Once again we are treated to another impressive lead out, something that seems to be coming stock in trade for this great musician, it ebbs and flows brilliantly, demanding you follow it right to the end of the musical journey.
Wow! The next track is a real departure for Tim. All full of angst and pent up rage, Kill The Pain That’s Killing You opens with frantic drum beat and a caustic guitar riff. There’s a real nervous energy about this song, a pleading uneasiness that has a real catchy note to it. Tim’s vocal seems more direct and urgent and that acerbic guitar note really does make you sit up and take notice. The staccato chorus only adds to the offbeat tone, this is something very different and enjoyably so and, coming in at under four minutes, this frenetic song never outstays its welcome.
After that unexpected but thoroughly enjoyable onslaught,Nowhere Good To Go sees us return to the refined, simple grace of the first two tracks but there is definitely something evolved about Tim’s sound on this album. Soothing and tranquil, the music seems to lull you into a becalmed state and then open up into something just a little different with the dulcet tones of a Hammond organ combining with the strings to add subtle sophistication to what is already quite an imposing sound. Again the vocals are delivered with silken finesse and the ethereal flute adds a winsome feeling to this lissome song.
There is one of the best openings to any recent progressive song on You’ll Be The Silence. All pastoral with a lovely piano sound and the delicate heavenly flute, it really did impress me on first listen and left me transfixed with its rarefied quality. Tim’s voice has a little catch to it, an almost sentimental regret at the heart of it and it gives the song a dreamlike atmosphere when combined with the simple charms of the wistful music. The longest track on the album at nine minutes long, you are enraptured throughout this unapologetically sentimental and yet slightly rueful piece of music. You have to take the time to listen to this song (and, indeed, the whole album) with a decent pair of headphones on and just become immersed in its spellbinding orchestral reverence. Music as good as this can take you to a place of calm reflection, where the world cannot harm you and everyone needs that now and again, an utterly captivating song that ends every bit as brilliantly as it begins, the guitar and flute leading you on a seductive voyage home…
Lost In The Ghost Light is quite a dark interlude with a menacing undertone. Tim delivers his vocal in a spoken word fashion and that adds even more suspense and uncertainty. The music is atmospheric and bleeds tension directly into your system.
That slight feeling of doubt can be felt at the start of You Wanted To Be Seen and adds to a cautionary tone to deliver a deliberately pensive and sombre tone to the song. Tim’s vocal is thoughtful and sad and the music has a plaintive and pensive edge to it. The violin that can be heard in the background is a fine touch and adds a longing, surreal edge to the track before things change tack with a restless and skittish air that adds tension and a disquieting unease. Another great song that has an imposing end with some great guitar playing.
Onto the final track of the album, Distant Summers, a mournful violin opens this mellow and cultured song and imbues it with a really plaintive plea for days gone by, Sepia tinged nostalgia drips from every wistful note and the exquisite flute playing is tempered by a trite ennui. The vocals have a touch of anguish at the core of them and the whole song has a fragile dignity deep at its core, one that is made up of beauty and remorse in equal quantities. Despite the forlorn mood that runs throughout the song, I still feel that there is hope emanating from Tim’s expressive voice and that is the overriding feeling that I will take away with me.
I’ve always been a fan of Tim Bowness and this new album has only exacerbated that. He has added something different and distinct to his music to evolve and progress it to something that, while recognisable as his work, has seen him mature into one of the best and most involving progressive artists that we have. There are added layers and nuances that just lift this album above similar fare on offer at the moment and I can see this being on my playlist for a long time to come.
