Gnidrolog
Lady Lake

Gnidrolog is an English progressive rock band, which in 1972 released the only two albums in their discography (not counting Gnosis, born from the reunion in 2000). That same year, after releasing a live album, the group disappeared from the scene as suddenly as they appeared. Now let's analyze their second work, titled Lady Lake.

The first thing that catches the eye is undoubtedly the (fantastic) cover, with a malevolent arm emerging from the horizon and a mix of colors that gives the record a strange atmosphere even before it is heard.
After being struck by such beauty, there is a systematic urge to start listening to the work, which opens with "I Could Never Be A Soldier". A very well-played piece, which at first glance may remind you of the early days of Van Der Graaf Generator, although the absence of a keyboardist in the band is quite noticeable when compared to Peter Hammill's band. In fact, the piece is quite structured in its 11 minutes, with flute parts (Ian Anderson had already set a precedent) and sax alternating with the guitar, but perhaps missing a hint of epicness that only an organ could provide. Still, it remains an excellent song, perhaps the highest point of the album, sublimated by the melody of the chorus with a good vocal performance by Colin Goldring, endowed with a sharp and high-pitched voice.
Next is "Ship" a song rich with wind instruments (sax and oboe), accompanied by the constant presence of the vocals, fragile and bold at the same time. The finale is left to Colin’s brother Stewart's guitar, filled with solos.
The third track "A Dog With No Collar" has a different atmosphere from the previous two, much more melancholic, marked by acoustic guitar, sax, and vocals, which close with a brief segment of just under two minutes, which (at the time) was the first side.
Now comes the title track, another Van Der Graaf-style piece, thanks to the continuous presence of wind instruments and the atmosphere of solitude that emerges. Overall, however, the piece feels a bit repetitive with the continuous motif marked by the sax, which attempts to go wild in the finale (a bit like what happens in Killer, the first track of H To He...).
Next is "Same Dreams" the only piece in which a keyboard is played (a rather unusual fact for a progressive group). The piano theme is pleasant, providing the right delicacy to the song.
The album closes with "Social Embarrassment", sung by John Earle, so far on sax, who has a less delicate voice that, combined with the music, recalls Gentle Giant. A piece that deviates from the tracks heard so far, with a more lively and carefree rhythm.

Overall, a work recommended for lovers of not overly convoluted progressive rock, who might make a pleasant discovery by listening to it.