Jethro Tull
The Zealot Gene

Necessary clarification: it is evident from above that this album is, precisely the twenty-second studio work, of Jethro Tull. In reality, of the group that made music history with masterpieces like "Stand up," "Aqualung," "Thick as a Brick," and so on, all that remains is the legendary founder; which is why, as in his last production, it would have been correct to attribute it solely to Ian Anderson. Evidently, the "commercial appeal" determined its authorship, and I would say rightly so, since "Jethro Tull" re-entered the British top 10 after 50 years, back then it was the combination "Living in the Past"/"Thick as a Brick," precisely with "The Zealot Gene," a result that can be defined as exceptional. But is it true glory?

This is indeed the thing that interests us most, and my straightforward answer is undoubtedly... affirmative! "The Zealot Gene" is a pleasure to listen to. Of course, if you are passionate about Metal, Anderson's work might not be for you, but for fans of RockProg, there is no doubt it is worth delving into.

The album's title "The Zealot Gene" suggests that we are facing a biblical concept album; the Zealots were, in fact, a Jewish sect "active" at the time of Jesus and naturally also before him since the Roman occupation of Palestine. They were particularly distinguished in their intransigence in respecting the Bible; today, we would say they were "Fundamentalists," and as such, they gave our Fathers a hard time, who eventually, around the year 70, grew tired of their early form of terrorism and simply erased them from the face of the Earth.

Just to mention two true Zealots: I recall Barabbas and Judas, on whom I believe it's unnecessary to dwell given the fame the Gospel bestowed upon them. However, analyzing the twelve tracks comprising "The Zealot Gene," I would say it's a false concept since the adherence to the Bible is confined to some tracks like "Jacob's Tales" or "Shoshana Sleeping"; the very pleasing girl threatened by two elders who, after being rejected, bring her before King David for the customary stoning (averted by the wise sovereign) or finally "The Fisherman of Ephesus," behind which likely lies John the Evangelist, "Fisher of Souls," buried precisely in Ephesus; for the rest, only quite vague references.

Musically, as anticipated, "The Zealot Gene" is highly enjoyable to listen to, without particular peaks, perhaps excluding the beautiful "Mine is the Mountain" with a sad and persistent refrain, interrupted by lyrical inserts and the classic Andersonian "gallop," and also the delightful "Sad City Sisters" embellished by the witty use of the accordion. The homogeneity of the composition is accentuated by the almost continuous flutey backdrop and the soothing voice of the seventy-four-year-old Ian, and the objectively limited impact of the other equally talented musicians, effectively relegated to the role of "musical wallpaper."

Looking back at the long and rich production of the group mentioned here, it's useless to seek a reference to the aforementioned masterpieces, while I would venture to say that we have here a "successor" to "The Passion Play" with the experience of the revival of "Thick as a Brick" in 2012. Nevertheless, the work in question is substantially original and, I repeat, well-played, hence follows my flattering score, in line with the critique that has very positively received: "The Zealot Gene."

The black and white cover is unsettling, except for the Crucifixion, almost suggesting that it was the only true note of color in the entire album's narrative.