IN SPITE OF HARRY'S TOENAIL

Gnidrolog, a melting pot more than a band, had one phenomenally strong year with 1972. That year is a really strong one all around: so many of our classics were released that year. But, after that year's end came, we heard very little from this sensational band. And that's one of the biggest drags in Prog Rock history (for me, and undoubtedly, many others). This, along with the curiously more popular Lady Lake, have created a wonderful journey, drawing inspiration, and styles from many diverse sources - though never to the point of blatant "rip-off" (a silly term, anyway). This album, in contrast to its counterpart, is more edgy, whereas Lady Lake exercises a more melodious and, chiefly, jazzy feel. Both approaches are phenomenally done, and fit perfectly with Gnidrolog's sound as a band.

The thing I often mention that bands lack (post-rock bands, more often than not) is spice. Sure they may write beautiful melodies, have complex songwriting, or even be unique, but if they ain't got no feel, they ain't worth nuttin'. Gnidrolog is a band that is drenched with feel, originality, zang, and undeniable spice. This makes this album, along with its counterpart, very refreshing, and very easy to delve into. And to contribute to the flavour factor: each member's outstanding instrumental skill, the jagged, energetic vocals, the great production and sound quality, and the revitalizing compositions. Even with a RIO-like genre jumping aspect, the album covers folk, experimental, standard rock, soft rock all in their unique original style. There is a weak jazz influence here, as that was more reserved for the next release.

Again, energetic phrases and experimental passages run amok during the album. The absolutely powerful opening sets the mood, yet sways instantly into a really folk-y section, mildly reminiscent of Jethro Tull, and back to a softer section all seamlessly. Much of the rest of the album continues in this fashion, with very strong and sometimes obvious influences: Gentle Giant-like medieval sections, et cetera. Compositional complexity is not off-the-charts, but it is certainly present, and extremely creative in its execution and conception. And, for good measure, there are some hilarious parts you'd think would be in a Monty Python sketch or a Mel Brooks movie. (If truth be told, they're not so funny as that, but I love the piece they add to the puzzle.) Overall, this is a bit of an overlooked gem from a bit of an overlooked band, and should not remain as such to those for you reading this. Heed my call, and go buy this.