Ian Anderson felt ‘desperation' to create new Jethro Tull album
Jethro Tull singer Ian Anderson said he felt a sense of 'desperation' to create new music as he was growing older, ahead of the band's latest album release.
The rock band's new album, a nine-track record titled Curious Ruminant, will be released on March 7.
Speaking ahead of the launch, Anderson – the group's lead vocalist, lyricist and flautist – said that creating a new album usually came 'out of the blue' when 'the time was right'.
On the inspiration behind Curious Ruminant, Anderson told the PA news agency: 'It's a mixture of desperation, in the sense of growing much older and knowing that if I don't crack on with it now, there might not be a second chance.
'So there is a sort of feeling of desperation to get another creative moment – squeeze it out of your inner soul and present it to the world, then that's kind of a desperate act.
'The second, a rather exhilarating and rewarding sense of engagement, because making a new record is something that comes usually out of the blue and you just know when the time is right – today I'm going to start work on a new song, and then it just feels right, and then it organically grows in the next days weeks, and builds a huge momentum.'
Anderson said the latest album 'evolved into being', and that he wrote all of the lyrics within the space of a few weeks 'one after the other'.
He continued: 'I like to paint musical pictures of people in an environment, people doing something, and something that interests me about people in a context.
'But on this album, I do, obviously some of that comes into the lyrics, but it's also expressing more of my personal thoughts and views.'
The first song Anderson worked on for the new album originated from a demo of a flute duet he originally created in 2007 with then-keyboard player for the group Andrew Giddings, he said.
He continued: 'So this demo just was just sitting there on the hard disk of a computer that we used back then only for music work and my son found the computer and then decided it would be good idea to destroy it because it's just lying around and so he was going to smash up the hard disk.
'But before he did, he noticed there was some audio files on there, multi-tracks, and he said, 'Do you want to keep any of this?''
Anderson said he did not know what the files contained and so his son sent them over to him.
'When I heard it, I thought 'Well, this is something really too good to just throw away', and it would be nice for me, and nice for perhaps for other people to have it completed and brought the into the real world,' the songwriter added.
'And so I wrote the lyrics for that, and melody and various things to go with the two flutes.'
Of the band's early days in London in the 1960s, Anderson said he 'caught people's attention' because he played the flute which was 'a bit unusual in pop and rock music at the time'.
The musician went on to describe the group as 'a little bit of a quirky, odd band' and said his work ethic comes from a sense of competition with himself.
He said: 'Every time I record a new song or get on a stage to perform, I'm competing with whatever reputation I've had in the past, and therefore that's what motivates me, is to try and do what I do well, but I'm not in competition with other bands.'
Among musicians featured on Curious Ruminant are former keyboardist Giddings and drummer James Duncan, along with the current band members David Goodier, John O'Hara, Scott Hammond and guitarist Jack Clark – who is making his recording debut with the prog rock group.
Jethro Tull landed their first top 10 on the Official Albums Chart in 50 years in 2022, with The Zealot Gene entering at number nine.
Their last top 10 appearance was 1972's Living In The Past.
Formed in 1968 in Luton, Bedfordshire, the band have released some 30 albums and had hits including Aqualung, Locomotive Breath and Cross-Eyed Mary.
The pop and rock group cite many musical influences including folk, classical, blues and jazz.

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- New York Post
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The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here. The Manhattan hotel at which I'm interviewing Wes Anderson has striking views of Central Park out of its windows. Looming a little more ominously, however, is the Trump International Hotel and Tower, one of the president's many jutting edifices dotted around the globe. I wouldn't have noted it, except that Anderson's new film, The Phoenician Scheme, is about a tycoon with hands in many pots: arms dealing, manufacturing, large-scale infrastructure projects. In conceiving the character—a businessman named Zsa-zsa Korda (played by Benicio del Toro)—the director told me that he was thinking of a more old-fashioned type of European magnate, in the vein of Aristotle Onassis or Gianni Agnelli. But 'I think that everything's filtering in,' he allowed with a chuckle. 'We're all reading the same newspapers.' 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'They always have eccentricities and peculiarities because they can do anything they want.' But his inspiration, beyond famous faces like Onassis or the legendary oil middleman Calouste Gulbenkian, was his own father-in-law: Fouad Malouf, a Lebanese engineer to whom the film is dedicated. This bore out in both Korda's professional interests and his attempt to build a relationship with Liesl: At one point near the end of his life, Malouf produced a series of shoeboxes from his closet of effects gathered throughout his career, and explained their contents to his daughter. The Phoenician Scheme repeats that shoebox imagery. With even his most outlandish stories, Anderson said, 'it just becomes more personal without even me intending it to.' The most fascinating challenge of the film, at least to me, was keeping the screwball energy high while otherwise heeding Anderson's specific style. Each set is carefully assembled, with the blocking of each shot perfectly aligned, and Anderson's rat-a-tat dialogue is delivered exactly as written. Still, there's a spontaneity to the storytelling and the world it's moving through. Anderson's locations reference real places, but they always feel exciting and new, never derivative. [Read: The beauty and sadness of Isle of Dogs] The director's particular approach—one that eschews on-set trailers, keeps all of the cast together (including dining communally and staying at the same hotel), and moves from scene to scene quite quickly—is unusual for larger-scale filmmaking. But Anderson is clearly cheered by the enthusiasm his performers have for the process, and how well the newer members of his family of players have taken to it. Michael Cera (who is fantastic as a fussy Norwegian tutor in Korda's employ) and Riz Ahmed (as Prince Farouk, the heir to the fictional nation of Phoenicia, which is vital to the plot) were Anderson's two big additions this time around, and the filmmaker said that both actors dove in with aplomb. And it shows—they fit comfortably among the Anderson stalwarts, capturing the archness typical of the director's characters. Del Toro's performance is the most crucial component to The Phoenician Scheme; it's the first Anderson movie centered on a single lead since The Grand Budapest Hotel, starring Ralph Fiennes. Del Toro had been in Anderson's head as Korda from the start, so much that he informed the actor of the idea while they were promoting their prior collaboration, 2021's The French Dispatch. Anderson remembered his pitch being vague to a comedic, overblown degree: 'I told him there's some Buñuel aspect to it.'' As I tried to describe Del Toro's on-screen presence to Anderson, I ended up referencing his 'whatever' (American for je ne sais quoi). Del Toro's early roles (in 1990s cult films such as The Usual Suspects and Excess Baggage) smacked of knockoff Marlon Brando: all movement, mumbling charm, and giddy chaos. But with time, the actor has learned to communicate decades of regret and the darkest emotional headspace with barely a flicker of his face. That's the power of his presence, or, as Anderson agreed, his 'whatever.' This isn't the first time Anderson wrote with an actor in mind. As we spoke, he mentioned the late Gene Hackman in The Royal Tenenbaums. Hackman's character, Royal Tenenbaum, is another intense father figure who, like Korda, is both brilliant and terrible. But Anderson scripted him two decades ago, before he became a parent. I asked him if the intervening years had changed his investigations into the sins of fatherhood, and he nodded. 'Tenenbaums was completely from the point of view of looking up at the old man,' he said. Now, at age 56, the director is practically Korda's age; he also has a daughter, as do Del Toro and Anderson's frequent story collaborator Roman Coppola: 'I guess we're coming at it from the father's point of view, but, I will say, with a bit of the perspective of still thinking about our own fathers.' The Phoenician Scheme strikes that balance: It's wiser, and it has the looser silliness that comes with middle age—but it's looking up at those imposing father figures, tycoons or no, with awe and fear all the same. Article originally published at The Atlantic