With so many Anglagard alumni involved here, one legit question would be whether the Swedish band has reformed under a different moniker. Well, yes and no. There is an undeniable Anglagard vibe to the music, more melancholic than dramatic. Most likely is Johnson’s Mellotron inundating the album that contributes to that overall feeling. However, the music is not as dark and somber as Anglagard. What sets Thieves’ Kitchen apart though is Phil Mercy’s ability to leave his very original mark. Mercy is one formidable musician, not because he plays in a flashy way, but because his guitar leads most of the songs. Finally, Amy Darby vocals complete the originality of the band. She sounds like Annie Haslam with a lower-tonality voice but displaying the angular inflections of Bjork. Guaranteed to be love at first hearing.

Things get started majestically by "The Long Fianchetto", an epic 24-minute track that opens with a moody piano, but quickly switches to a more dynamic line that builds-up in intensity. Cello over Mellotron, with flute and wonderful guitar all mixed together could give you a slight image of the harmonic complexity that never overwhelms the listener. The rich, pastoral textures are often replaced by frantic fusion passages and the cycle continues without repeating itself. Next is “Returglas”, one of the shorter songs. Anna Holmgren really shines here, playing some inspiring flute. This could be considered the closest tune to what Anglagard used to play if it weren’t for an interpretation of a Balkan folk dance. Listen to Mercy’s guitar solo and you will understand why I think he’s a helluva player.

Each song has long symphonic stretches conveying a large spectrum of emotions. They can be either introspective as on “Chameleon”, highly energetic as on “Om Tare”, a song with lyrics in Sanskrit or delicate like those on both "Tacenda For You" and "Plaint", a song where Darby plays the Clàrsach, a Gaelic harp.

The album is closed by the title track, the second song in length. Carried on by a flute-oboe duet between Holmgren and Beecham, with Petterson's cello as a background, the song builds momentum for a great finale led my Mercy's soaring guitar.

"The Water Road" is highly recommended to everyone that likes progressive rock with a touchy feeling. I count myself among those who love a lot of atmospheric melody in the music. This is not boring ambient, but an album of entertaining intricate music that will end up in everyone's top ten for 2008.