THE WATER ROAD

Back when Amy Darby and Phil Mercy were growing their vision for musical expression, they must have known that they had very high standards they were seeking, otherwise how and why would they attract the likes of not one, not two, but three ex-Änglagård members? Obviously Thomas Johnson, Anna Holmgren, and Mattias Olsson liked Phil and Amy's vision enough to invest so much of themselves in this band--for over 12 years! (and they may still be linked to one another though it's been since 2019 since we saw any new material from them!)

In my opinion, The Water Road announces the arrival of a real force of complex, skilled prog rock--one that is fronted by the operatic voice of one Amy Darby--one of the most unique and uncompromising singers in modern prog. Successive releases have shown, however, that the band was still fleshing out its collective vision, still a bit unsure of how to realize the tremendous potential laying within the band.

1. "The Long Fianchetto" (21:01) gentle and rolling music (especially for its sub-genre) with quite a lot of 'tron, gentle vocals and keys, folk-pastoral instrumentation and motifs, as well as a number of sudden exposures and turns into heavier areas. When I first heard this in 2008 I was mesmerized but somehow left cold and empty. Now I quite enjoy the precision mathematical construct and execution. Amy's penchant (and talent) for pioneering her own melodies within the chordal presentations of her band mates is at first frustrating (because it is so unpredictable) and yet, once familiar, marvellous--a sheer delight. (36/40)

2. "Returglas" (4:12) piano and woodwinds open this before the rest of the band joins in setting up a very slow, gentle pastoral soundscape. I love that the flute and oboe are allowed to play, to soar--before the Middle Eastern themed dance theme takes over. Back and forth we are taken between gentle pastoral and frenzied, almost roiling drunken shanty song--with choral vocalise but no lead vocals! Interesting! Definitely ecclectic! (8.75/10)

3. "Chameleon" (9:00) Mellotron, drums, jazzy bass, and plugged-in acoustic guitar strumming gentle open this JONI MITCHELL-sounding opening. Even the chorus and its instrumental codas between verses have a jazzy-Joni sound and feel. Even Amy's melody is following some Joni-like patterns, singing through key changes as if she's the lead creator of the music. Fender Rhodes and horns continue to add to the illusion. (P.S. I LOVED Joni's jazz phase in the 1970s--Don Juan's Reckless Daughter being one of my Top 10 Albums of All-Time.) I wish the speed and direction would shift a bit more--and that the guitar solo in the eighth minute were better. (17.5/20)

4. "Om Tare" (7:44) contrary to what the title might lead one to expect, this is a fast-paced showy piece similar to something Steve Howe might love from the YES lexicon. Amy tries to sing over the high speed chase in the third minute in another language (I'm assuming Hindi or Sanskrit). It's like sining over "Sound Chaser". There are some similarities to CYNIC's Focus before the guitar slows himself down (man the bass player is cruising--a little Jeff Berlin inspiration, perhaps?) Interesting but at times incongruously layered. (13/15)

5. "Tacenda for You" (9:34)Amy, flutes, and Fender Rhodes from the opening, joined by bass and drums at 0:40, sustained guitar notes and Hammond arpeggi moving us into something old from the KING CRIMSON cataloque--perhaps "Book of Saturdays". The following return to flute, Fender Rhodes, cymbals and voice is lacking lyrics and vocal melodies to chomp into. The next guitar solo is nice--over the "Book of Saturdays" motif. This then moves into some heavy Mellotron sections over odd time signature drumming, the guitar noodling away his plaintive plea. The next sparsely supported vocal section is quite lovely, Amy's voice stretching out to the bottoms of her range, the lyrics hitting home. Rock guitar takes the lead back over Hammond and 'tron, singing quite emotionally. This is good prog! At 7:46 we're suddenly taken away by a jazzy hammond while the lead guitar tries to maintain his own pace and melody lines. Quite unusual--almost conflicting! Brought to resolution at 8:48 as melody and harmony are restored nicely. Finishes with some Fender play and a line from Amy. Okay! (17.5/20)

6. "When the Moon is in the River of Heaven" (7:46) 'tron supported blues guitar soloing over slow, plodding rhtyhm section. Amy enters over only spacious piano using the same melody line estblished by the guitar. She's quite an effective torch singer! Piano goes classical. Amy tries to match it. Enter Fender Rhodes as Amy continues. Rest of the band slowly, almost clandestinely join in. Beautiful instrumental passage at the end of the fourth minute. This builds and continues, as brushed drums, chunky bass, and multiple keyboards weave in and around each other. Lovely! A top three for me. (13.75/15)

7. "Plaint" (2:35) Amy's solo harp with thunderstorm sounds in the background open this. At the 1:00 mark Amy's voice enters over xylophone and cello. Nice. (4.5/5)

8."The Water Road" (11:13) a portentous classically-infused prog opening with slow paced rhythm section and Mellotron supporting oboe, flute, and cello. At 2:30 the foundational instruments become gently picked acoustic guitars, fretless bass, gently tickling Fender Rhodes, and 'tron while Amy sings once again in her lower registers, almost whispering. Organ joins in during the chorus, then disappears for the second verse. Though this song isn't really exciting or dynamic, it feels very well composed, as if everyone is on the same page, as everyone's hearts are fully into it. A nearly perfect vehicle for conveying Amy's talents. (18.5/20)

Total Time: 73:05

A collection of wonderfully mature compositions by some stellar veterans of progressive rock music. A solid album through and through that I think the band builds upon with their next releases, 2013's One for Sorrow, Two for Joy, and 2015's Clockwork Universe.

B+/4.5 stars; an excellent addition to any prog lover's music collection.