RÖKFLÖTE

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)