RÖKFLÖTE

Adapted from my DPRP review

What are the highs and lows of RökFlöte, and will it be considered a winner, or a loser, by the band's supporters?

On the evidence of its compositions, Jethro Tull have created a success that many Tullsters will adore. The album contains numerous aspects that comfortably fit the "new old Jethro Tull album" moniker. In this respect, it ticks many of the accepted boxes and will probably exceed expectations.

For example, the guitar is high in the mix. There are musical references to specific passages from past Tull albums and allusions to the styles of previous Tull releases.

The band's performance is fresh and uninhibited. Anderson's flute playing is impeccable. There are frequent occasions when the fearsome interplay between flute and guitar is simply magnificent. This release regularly contains outstanding instrumental passages. The tunes are melodic and lyrically astute. Although the album regularly vibrates the chest and rocks the senses, there are still many interesting changes in pace and direction.

The Perfect One and Cornucopia are probably the prettiest tunes on the album. They certainly provide the album with a different set of colours. The Perfect One journeys gently through sun-shadowed passages and rolls and shifts with purpose in heavier flute-splashed squalls.

RökFlöte is probably the most convincing that Jethro Tull have sounded as a collective since their Roots to Branches release. The band's lively and outstanding performance outweighs anything from the Dot Com era, or from Ian Anderson's TAAB2 and Homo Erraticus releases. There is a vigour, excitement and sparkle to the band's performance that has arguably been missing for years.

The combination of Joe Parrish-James' upfront guitar tones, with Anderson's virtuoso flute performance works fabulously. Whether by accident or most likely by design, there are many junctures when Parrish-James adopts a style and a muscular tone that Martin Barre might have utilised, had he been involved.

Parrish-James' outstanding and prominent contribution to the overall mood of the album is a significant reason why RökFlöte might be positively received by that section of Tull aficionados who lamented the departure of Barre. RökFlöte contains no acoustic tunes. Indeed, Anderson very rarely plays acoustic guitar in concert these days, and the few acoustic guitar parts on the album are credited to Parrish-James. It might be assumed that an absence of the short acoustic tunes that Anderson is renowned for, would have a noticeable detrimental effect on the success of the album. That it does not, says something about the sequencing of the tunes and the quality of the all-out rockers such as Wolf Unchained and The Navigators.

Both tunes have a relatively straight-forward hard-rock style, that on a cursory listen comes across as much too simplistic to have been composed by Anderson. However, as might be expected, both tunes do not stick to a predetermined hard-rock script. In this sense they exude the essence of what Jethro Tull are all about; creative melodies, unusual progressions and fine instrumental embellishments.

The Navigators begins in an upbeat fashion and has a biting flute riff that gives it a similar sort of snarling appeal as Roots to Branches' Dangerous Veils. The Navigators stridently exhibits power flute blowing, in an exciting display of metallic, silver-tubed virtuosity. For good measure, its concluding section satisfyingly channels some of the mysterious Eastern vibes that were prominent in Roots.

Both Wolf Unchained and The Navigators offer a chain of excellent opportunities for the group to stretch out in a succession of satisfying, gilt-edged instrumental breaks. Despite the success of these leather-stained rockers and the overall appeal of the many flute and guitar interactions, I certainly missed the changes in pace and earnest appeal that the delightful acoustic numbers offered in The Zealot Gene.

However, despite RökFlöte generally being a much harder-edged album, melody is never sacrificed, or replaced by brash aggression. For example, the gently evolving Cornucopia is forged and sculpted by an enchanting flute line. This recurs, floats and flutters elegantly, to highlight the tune's appealing initial melody. For some reason, its eloquent nature and reflective ambience recalled some of the beauty of Stand Up's Reasons For Waiting.

So will Tull fans get what they want, what they really really want?

Overall, RökFlöte can be placed in the middle ranks of Jethro Tull and Anderson's thirty studio album discography. This assessment probably reflects RökFlöte's exceptional and slightly unappealing facets and all points in between. Yet, this album's overall excellence outweighs any negligible reservations that might arise. The fact that it succeeds on so many different levels and in so many appealing ways, is probably much more than any Tullster could reasonably expect in 2023.

I don't think many people expected another album in such relatively short succession from Tull after they returned last year with "The Zealot Gene". But then again, this is Ian Anderson we are talking about.

RokFlote definetely has much in common with the previous year's album, a comparison which I can't help but make constantly. So what 'adjustments' have been made to the sound of the band? A little more flute, a little less keybords and definitely more relaxed, quieter vocals. The first two are barely noticeable if we're honest, but the third one for me is definitely noticable and I can't say that I am a fan of it. In fact, I'd have to say its my biggest complain of the album. I just can't seem to connect with Ian's vocals, something I can attribute to them not really 'gelling' with the rest of the music. And I think that brings about the biggest problem of the album in my opinion; the 'gelling' of all the instruments with each other, and with the vocals.

Jethro Tull's reformation saw a brand new lineup of musicians pairing with Anderson, predictably bringing new ideas and sounds to the table. This breath of fresh air along with Ian's impecabble songwritng and lyrical talent worked brilliantly on "The Zealot Gene". And again, there should be no complains in that department. The musicianship is admirable and up to Tull standards, along with the thematic concept. Even though I can't claim to be the biggest fan of Scandinavian mythology, many of the ideas for the songs are pretty cool.

But evidently when it came down to glueing all the pieces together, the result doesn't seem most exciting. I found the tracks disintresting and they rarely caught my attention, apart from some very entairtaining Anderson flute playing throughout the album. And to be honest, I don't have much else to say about the album, it's a classic case of; ' it's not bad by any means, but it has been done better before'. Despite this, I believe the Tull faithful absolutely owes this album a good listen, as different ears can always find some hidden gems along the way.

And to cap off this review, the unavoidable question; will this be the last Tull album? There is always that posssibility, but I can definetely see a third album to complete a final trilogy of material from the madman himself.

Two years after their unimpressive return on The Zealot Gene, Jethro Tull is back with another record, RökFlöte. For this record, Ian Anderson stated he drew inspiration from Norse mythology, and the word "Ragnarök" is where he got the idea for this album's title. Each of the twelve songs on this album is based off a character or concept from Norse mythology.

Going into this, I did my best to keep an open mind. Yes, I'd found The Zealot Gene unnecessary, disappointing, and soulless; but Tull has bounced back from bad records before! Minstrel in the Gallery followed the unfocused hodgepodge of WarChild, and Roots to Branches came after the tepid blues rock of Catfish Rising (and their middling '80s hard rock). Martin Barre continues to be absent from the band, so I tried to calibrate my expectations for the guitarwork accordingly.

"Voluspo" opens with heavy breathing and a female voice narrating something in Old Norse. After about a minute of that, the music is rather pleasant and folky. The synth tone is dated, and the guitar playing is generic, but the underlying composition isn't bad. Eventually, it shifts to a hard-rocking, plodding riff that suits the lyrical topic of ice giants.

The flute and electric piano intro of "Ginnungagap" is quite enjoyable, despite the heavy-handed and dull guitar. Anderson's flute playing is on-point, though his voice is somewhat weak. It's more narration than singing, but it's not bad. Following this pair of heavier songs, "Allfather" has a lighter, sprightly feel. It's actually somewhat fun, and it sounds like something off Dot Com.

"The Feathered Consort" has a promising intro, but the verse is weak. The synth tone isn't terrible for once, but the melody is unnatural, and there's nothing to grab onto.

Hints of the blues are evident in the verses of "Hammer on Hammer". It's a slow-moving, tense piece that gradually builds in intensity. It sounds like the band actually feels something here, which makes it one of the strongest cuts on RökFlöte. 

"Wolf Unchained" tries to be menacing, but like many other cuts, it's hamstrung by regrettable synth tones, nondescript guitar playing, and iffy mixing. There are some good ideas here, and I think the band could have pulled this off in many of their prior incarnations with a bit of workshopping. But the fact that this is just Ian Anderson's solo band rebranded as Jethro Tull gives me the sense that this may not be the most collaborative effort. (That, and Anderson is?by his own admission?difficult to work with with a bit of an egoistic streak. I don't think it's a coincidence that the Tull album with the most prominent bass (Stormwatch) is the one where he played most of the bass.)

Acoustic guitar, chimes, and flute give "The Perfect One" an idyllic opening, and the verse reminds me of some of the better moments off The Broadsword and the Beast. It's passable hard rock sorta-balladry, but there are better examples of this out there. 

"Trickster (And the Mistletoe)" is the best synthesis of folk and hard rock on this album. I could easily imagine the main riff on Songs from the Wood or in a toned-down form on their Christmas album. The verse is spotty, but it's still strong enough to make this my favorite song on the album. After that great cut, "Cornucopia" is a sleepy, folky instrumental that doesn't do much for me.

The tense opening flute line of "The Navigators" is robbed of any artfulness by the unsubtle guitar line. Maybe a better tone or better mixing could have fixed it, but I'm not sure. Just something about it strikes me as so bland. It really makes me miss Barre's unconventional style. That issue aside, this is one of the stronger compositions on the album. It's decent, kinda-proggy hard rock that keeps things interesting.

"Guardian's Watch" has a jaunty air to its opening, and the verse isn't bad, either. It's lush hard rock that's on the decent side of middling, but don't go out of your way to hear it. RökFlöte ends with "Ithavoll". The narrator from "Voluspo" returns, and it's a decent bookend.

RökFlöte is an improvement over The Zealot Gene. It's passable hard rock with some prog and folk influences, but this wouldn't be getting any attention if it weren't for the Jethro Tull name attached to it. And I suppose that's what I find so frustrating about all this. This is a band well past their prime putting out just-okay music, and I'm reasonably confident this review will wind up getting far more traffic than most other albums I cover, many of which I think deserve more attention than this unimpressive output. (My Zealot Gene review is the second-most-read album review on this site at time of writing, behind my Ummon review.)

This album is fine. It's not bad. It's on the left end of the bell curve of Tull albums, but it's still in the fat part of the curve.

Review originally posted here: theeliteextremophile.com/2023/04/24/album-review-jethro-tull-rokflote/

While The Zealot Gene was a decent record in its own right, I'm glad that it also served as a launchpad for Jethro Tull's overall resurgence. After all, prior to that album, we hadn't gotten a new record from them in nearly 20 years - and the handful of records they left off with were' not their greatest, let's say. So it's exciting to see them put their newfound momentum to good use, even if it's clear that their best days are behind them. And folks, let me tell you: R'kFl'te might just be the best Tull record since the early 80s. That's not to say that it doesn't have issues - and I'll address those in due time - but this new offering is the band's most inspired effort in several decades.

Unlike The Zealot Gene, which saw frontman Ian Anderson tackling more modern, relevant sociopolitical issues, R'kFl'te takes us into the realms of Norse paganism and mythology. The album title reflects this as well, as the 'R'k' in R'kFl'te refers to the famous mythological event Ragnar'k. So it's pretty safe to say that the Norse theming and imagery runs through much of the record, and indeed it does - and as if to match the concept itself, the music is much more folk-oriented than its predecessor. In fact, I'd go as far as to say that this is more of a folk rock album than a progressive rock one, though the latter's influence is certainly here as well. Anderson's flute work is all over the album, as are pastoral acoustic guitars and mandolins; this is especially evident on more traditional folk rock numbers such as 'Cornucopia', 'Trickster (and the Mistletoe)', and opener 'Voluspo' - all of which use the strengths of the band's 70s heyday to great effect.

A few of The Zealot Gene's key players return here, and in excellent form. Drummer Scott Hammond is especially praiseworthy here, as he seems to be capable of matching any stylistic shift thrown at him. Straightforward hard rock? Check. Traditional folk passages? Check. Crazy time signatures galore? Check. And, as he's been previously described as predominantly being a jazz drummer, he manages to add a pinch of fusion in the mix as well. 'Allfather' is a great example of his work on R'kFl'te, as he truly runs the gamut on this track: a complex folk-prog intro, simple 4/4 drumming in the middle, some aggressive hard rock touches here and there, and a nice folk-oriented reprise to cap things off. As for our new guitarist, he's quite promising as well. Joe Parrish-James - who was only involved in one song off The Zealot Gene - has taken up all electric guitar duties, and definitely shares former guitarist Martin Barre's penchant for incorporating several jazz and blues licks into his work. 'Wolf Unchained' and 'Hammer on Hammer', in particular, showcase him switching between hard rock riffs and blazing solos - though unfortunately, this does lead to the big issue of the record as a whole.

While R'kFl'te is much more consistent and focused than The Zealot Gene, Anderson hasn't quite reconciled the reunited band's folk and hard rock elements yet. He's getting closer to meshing them together properly, but - as with tracks such as the aforementioned 'Wolf Unchained' - the disconnect between the traditional folk bits and Parrish-James' muscular riffing is just a bit too jarring. Or, at least, it isn't as natural as on the band's best efforts from the 70s. All too often, there are moments of simplistic, faceless hard rock that seem to betray the interesting lyrical content and folk inclinations on offer; if Anderson and co. could somehow bridge those elements together more naturally, I think we could get something on par with the band's best work. In fact, as overambitious as it may seem today, I think Jethro Tull could really benefit from including a few mini-epics in their tracklists these days - songs that are given more time to grow and develop, rather than the lean 3- or 4- minute cuts that have populated their albums recently.

Regardless, I highly recommend R'kFl'te to anyone who's been waiting for a return to the more traditional folk- oriented side of Jethro Tull. Anderson seems to be getting closer and closer to the qualities that made the band's 70s output so special, while keeping the group relevant to modern prog audiences; I just hope that he keeps this momentum going for the next project. It's comforting to know that we still have a band carrying the torch for the original progressive rock scene, and that they're still willing to be vital and interesting in the 2020s. The result may not be perfect, but it remains an enjoyable and entertaining romp through old cultures and mythologies - all with a fun prog-rock twist. Mr. Anderson, I salute you.

JETHRO TULL is part of a dinosaur monster inscribed in the musical unconscious. He publishes his 24th album on his folk, world, country, prog rock vein; after his debut in 1967, a hiatus from 2012 to 2016 during which his guitarist Martin BARRE left, the vocalist Ian ANDERSON with his legendary nasal voice and his magic flute quickly had the talent to compose a world, classical, bluesy melting pot more than progressive. A unique sound that differentiates it from others, which influenced the generous OVERHEAD for example. This album is about Nordic paganism and is meant to be a message of cultural and musical beauty.

"Voluspo" intro with breath and Icelandic Birna phrasing, allusion to Ragnarok for a divine appetizer of Ian's flute; phrasing of Ian on a heavy riff; the flute is efficient, airy and dark, mystical, well in place and almost makes you forget Joe's solo which does not make you forget those of Martin. "Ginnungagap" pity that the title is not linked because we are dealing here with a second intro; a track that immediately lays the foundations of the album with Ian's voice poised, his flute forward; you have to like it we agree but it is their musical sign, in short a cozy bucolic folk rock. 'Allfather' follows on a fresh air where the notes unroll easily, a consensual piece not prog, except the rambling of said flute which brings back to CAMEL, OVERHEAD his heavy spiritual son and to themselves. Joe has a nice touch there. "The Feathered Consort" leaves on a medieval tune, folk of yesteryear, madrigal with a keyboard present to keep in mind that we are well in 2023, the flute in the final always. 'Hammer on Hammer' and the bis flute; it looks like JETHRO TULL from before with a nice fight between flute and guitar on a catchy bluesy soft rock tune that may lack heavy energy. 'Wolf Unchained' energy presents here finally with the cry of the wolf raising the dozing heavy bangers; an air with a calm rhythm giving rise to the best flute solo in my opinion; surely the other instruments are also doing everything to put this spirit without a doubt; small melodic progressive slope very singular and recognizable; longest title and almost too much, repetitive.

"The Perfect One" attacks the second side, yes let's regress a bit; do not hesitate there will be the CD, the LP, the collector, the Blu-Ray, the whole panoply; yet another beautiful title which sounds a tad like the previous one; oh no the flute gets carried away, rolls here before Joe's solo which differs well from those of Martin, yes still my weakness for him. Final' flautist eyeing the tubular sounds of OLDFIELD. "Trickster (and the Mistletoe)" for the intermission and the characteristic Irish jig, go take your arms and move even if Ian remains too muffled behind his tone of voice, sparkling piece which finally rises, a little too much late. 'Cornucopia' arrives offering a bucolic, pastoral nursery rhyme, the Lord of the Rings thing when everyone comes home; beautiful, conventional, yet restful; it's beautiful but used, very / too calibrated I would say. 'The Navigators' for the second long track of more than 4 minutes, just to inform about the very relative progressive atmosphere; a foot-stomping tune, a feel-good heavy riff bordering on melodic rock sprinkled with soft folk metal; in 1970 I will have understood the word heavy, there I put a flat; the most nervous and electro synth. "Guardian's Watch" baroque intro worthy of a CANDICE NIGHT. A second fluty madrigal that could pass for a new age dance at the time of royalty; Ian's vocals reminded me of BOWIE's on 'Scary Monsters'; the most progressive piece with flute integrated into the keyboards and mandolin, on an overboosted RONDO VENEZIANO. Bucolic 'Ithavoll', on a serenade; the air goes on a good baroque rock where the Icelandic voice brings back to 'Voluspo' and the final breath confirms, the good side is prog but it's a bit short. A radio edit of 'The Navigators' brings nothing new.

JETHRO TULL is 'already' releasing a sequel on the same musical concept; short titles that would have deserved to be chained and to see a real progressive current in them; here the compositions are beautiful, effective but remain in a register of deja vu; folklore, flute, some too short passages with keyboards and guitars, too far back. An opus for retirees in need of noise, aggressive rhythm, an album to rest where Ian shows the limit of his voice reached. For hardcore fans. (3.5)

OK, so this is the second album from Jethro Tull within the last 15 months, when it had been nearly 20 since their previous album before The Zealot Gene (2022). Overall, this new one is a fair bit better than Zealot Gene, with great flute work and some really nice instrumental sections. But I think it still falls into a similar category, in that it is a good album, but not great. It is fine, and quite pleasant to listen to, but not much more than that. Many quite nice melodies and arrangements, but never quite takes off. Reportedly, this album was originally intended to be an all instrumental album, featuring the flute, but then Ian became fascinated with Norse mythology and wanted to incorporate that into his songs, which resulted in some new songs and vocals added to previously existing ones. However, the vocals are the weakest part of the album, and I think at least some of the songs should have been kept as instrumentals, particularly Cornucopia and Guardian's Watch, as the vocal sections are not really needed and actually detract from the inherent beauty of the songs. And although the backing tracks and arrangements are better here than the last album, I still don't hear a real band, it still seems like another Ian Anderson solo album (which is fine, but it's not fully Tull). Another oddity here is that Anderson's wonderful acoustic guitar work is completely missing from this album, nowhere to be found. Not sure if this is one I will come back to very often, but it is an enjoyable listen and worth checking out. However, it is quite telling that although this album only came out a couple months ago, it already seems to be virtually forgotten, which doesn't bode well for it achieving classic status. Best Tracks: Wolf Unchained, The Perfect One, The Trickster (And the Mistletoe), The Navigators, Cornucopia. Rating: 3 stars.