Backgroundmagazine

22 Mei 2024

door Erik Neuteboom

This is the new album by Dutch musician Peter Swart (classical - and electric guitar and keyboards), assisted by Koos van Reeven (drums and percussion). He is heavily influenced by the symphonic rock music of the seventies and his inspiration is found in dreams, paintings, literature, fairy tales and science fiction. 

Although Migration is Peter Swart's 6th studio-album since 2003, this new effort is my first musical encounter with his music. In general the sound is very mellow featuring tender guitar and piano play, and soaring keyboards, blended with the sound of saxophone, flute and violin, generated from his keyboards. Often the tastefully arranged compositions evoke images of nature to me, very relaxing, close to ambient and new-age music, but more elaborate than usual in that genre. 

The 4 more dynamic tracks contain hints of the 70s symphonic rock that Peter Swart mentions as a huge inspiration in the info sheet. 

Courtship (3:30) : First twanging classical guitar and flute, then a slow rhythm (the saxophone and mellow synthesizer flights remind me of Camel) and in the end fading choirs. 

Coastlines (3:43) : The intro guitar runs strongly evoke parts of the legendary Hotel California (The Eagles) twanging guitar intro. Next beautiful classical guitar, in a slow rhythm, with the sound of seagulls, and sensitive electric guitar runs, a wonderful musical climate. 

Desert (3:31) : This track starts with dreamy guitar and keyboards, then a slow beat with mellow saxophone and moving electric guitar runs, in the vein of David Gilmour. 

And finally The Trap (3:39) : Dreamy saxophone play, in an ominous atmosphere. Now guitar and keyboards join, gradually the music turns into more more lush with bombastic keyboards and delicate slide guitar (by guest Bouke Caton), concluded with tender piano. 

Peter Swart makes beautiful, very pleasant guitar-oriented music on this album. But as a reviewer for a progrock magazine I would like to hear a bit more dynamics, a bit more electric guitar, a bit more powerful keyboards. Because now the balance is too much on laidback music (like New Age and ambient), that's a pity because Peter Swart has the potential, it's up to him to deliver more dynamic music, for the progheads. 

*** Erik Neuteboom (edited by Tracy van Os van den Abeelen)

iO Pages 

20 Mei 2024

door René Yedema

Met zijn achtste soloplaat Migration bereikt Peter Swart een mijlpaal in zijn muziekcarrière. Niet alleen is het, mede door mastering in de ook voor platen van Saga en Dream Theater gebruikte FineTune Mastering Studio, zijn best klinkende album tot nu toe, tevens is het zijn eerste onder contract van een professioneel platenlabel. 

Op het instrumentale Migration staan de hachelijke vliegtochten die trekvogels elk jaar maken centraal. Tevens zijn er parallellen met de ook door mensen al eeuwenlang gebezigde vlucht naar betere leefomgevingen; een synoniem voor trekvogel is bovendien migrant.

De trektocht wordt muzikaal vertolkt in veelal akoestische settings, waarbij symfonische ketboardklanken en omgevingsgeluiden het atmosferische, melancholische geluidsbeeld versterken. Net als op voorgaande albums zijn er raakvlakken met de gelijkgestemde composities van de door Swart bewonderde Anthony Phillips, Steve Hackett’s akoestische lp’s en de akoestische gitaarpassages op The Wall van Pink Floyd. Ook Camels thematisch enigszins verwante The Snow Goose (dat zelfs een track met Migration als titel heeft) is goed vergelijkingsmateriaal, zeker als diverse blaasinstrumenten natuurgetrouw door synthesizers worden nagebootst. Met name in tracks als The Ancient Pool, Flying Over en Courtship, waarin Koos van Reeven met zijn elektronische Roland-drumkit en akoestische percussie-instrumenten wat meer dynamiek aan het geheel toevoegt, weerklinken ook nog gevoelige,  aan de stijl van Bo Hansson herinnerde elektrische gitaar- of toetsensolo’s. Pas in het slotdeel The Trap wordt de sfeer ietwat grimmig, mede verklankt door Bouke Catons een jager uitbeeldende gitaarspel. 

Al met al zal het intieme Migration, naast fans van Swarts discografie, vooral liefhebbers van het ingetogen, in de jaren zeventig gewortelde werk van genoemde musici aanspreken.

PROGWERELD 

14 mei 20214

Recensie MIGRATION

door Fred Nieuwesteeg 

Peter Swart neemt de luisteraar mee in de gevaren die vogels moeten doorstaan tijdens hun seizoensmigratie; van de eerste vleugelslag (Take Off) tot het wachten van de jagers aan de thuislandgrenzen aan het eind van de terugvlucht (The Trap). Hij wil ons de momenten van vrijheid en gevaar, rust en dreigende uitputting van de gevleugelde beestjes laten voelen. Volgens Swart is het  niet moeilijk om de parallellen te zien met de menselijke migratiepatronen, wanneer vluchtelingen onderdak proberen te vinden als gevolg van conflicten, armoede of klimaatverandering. We gaan testen of we dit terughoren op “Migration”, zoals hij treffend zijn nieuwste cd heeft genoemd.

Swart staat helemaal in de ontspanningsmodus. Het is buitengewoon relaxte muziek die hij ons voorschotelt. De akoestische gitaar speelt een hoofdrol, net als zweverig toetsenspel. In zijn recensie van “Oderan” schrijft collega Math Lemmen dat die muziek zich leent om een boek bij te lezen of een meditatie te ondergaan. Dat zou bij “Migration” ook prima kunnen. Een fles rode Primitivo uit Puglia legen met aangenaam gezelschap bij een knapperend haardvuur kan ook een fijne ambiance vormen om weg te zwijmelen bij de klanken die soms richting new age gaan en best ook wel zoetig van aard zijn.

Met het akoestische gitaarspel is niks mis, Swart tokkelt er vaardig, subtiel en lustig op los, soms solo, maar meestal samen met (veel) toetsen. Dat levert in de veertien miniatuurtjes van een paar minuten mooie momenten op. In –bijna- stilte kun je genieten van de soms ook ambiente klanken. Uit zijn keyboards tovert hij een arsenaal aan blaas- en strijkinstrumenten, dat hij inzet om de over het algemeen eenvoudige thema’s gestalte te geven. Als er al sprake is van enige opwinding komt die uit die toetsen, die soms iets uitbundiger uit de speakers komen, alsof hij de volumeknop iets heeft opengedraaid. Dat horen we bijvoorbeeld op The Ancient Pool, dat een piano-intro kent.

Ik hoor de vogeltrek en de ontberingen die de fladderaars moeten doorstaan niet zo terug in de klanken op “Migration”, al doet Swart met de titels van de nummers, vogelgeknerp en het geluid van de branding een verwoede poging. Ja, zo kan ik het ook! Flying Over (goede titel!) is hier een voorbeeld van. We horen ook wat koorgeluiden. Dat is het enige dat in de buurt komt van zang op deze instrumentale plaat. Slechts nu en dan ontwaar ik iets van drums en percussie, de basgitaar blijft in de foedraal. Nee, van de ritmesectie komt het vuurwerk zeker niet. Daar zorgt wel de elektrische gitaar voor, nou ja, vuurwerk… Op het twaalfde nummer (Coastlines) schmiert hij even door, maar op Desert gaat het dak eraf. Nou ja, het dak eraf… Swart produceert een heuse solo, om direct daarna weer terug te vallen in standje tranquilo. Bouke Caton levert (als ‘jager’) nog een versterkte gitaarbijdrage op The Trap.

Peter Swart maakt best mooie muziek, hele rustige ook, of had ik dat al gezegd? En toch schuurt er iets. Is het de mierzoetigheid, het een beetje weeïge gevoel dat ik op den duur krijg, het gebrek aan haast? Zijn het die toetsenklanken die lijken op andere instrumenten, maar het net niet zijn en daarom een beetje onnatuurlijk overkomen? Ik denk het… 

De vogels en vluchtelingen zullen er niet minder om migreren.

MLWZ (Poland)

August 4th 2021

Review ODERAN

by Artur Chachlowski

We already presented Dutch musician Peter Swart on the pages of MLWZ about 10 years ago, when we were discussing one of his earlier albums, Rofloré (2010). Today, the artist's latest work Oderan is in front of us. The music is inspired by the science fiction trilogy "Kroniek van Oderan", written by Peter Swart himself. I have not read it (it’s only published in Dutch), but from the information available to me, I know that it is an adventurous story about interstellar travel and a colonial mission to the distant planet Oderan. 

The music follows the three books in chronological order in nine atmospheric and instrumental tracks, focusing on relationships, planet exploration, and the crew's personal responses to the challenges. Among them, there is only one song with the vocals of Peter Swart: The Tears of Tara, which is about the nascent feelings of biologist Tara Hanson to psychologist Martin Black. Each composition is accompanied by a detailed account of the context of the story published in the booklet. 

Peter Swart plays all instruments himself (synthesizers and guitars), and musically the album "Oderan" takes the listener into the world of relaxing, melodic, symphonic rock with strong accents placed on electronic music. All this is kept in a calm New Age / Ambient atmosphere. Kitaro, Jean-Michel Jarre (amazing backgrounds and soundscapes painted by keyboards), gentle Camel (delicate parts of acoustic guitars), and even the illustrative Pink Floyd - such associations come to mind while listening to this album. The album sounds like a soundtrack to an imaginary movie, it is full of picturesque themes, musical landscapes and a great sound space. The music itself is kept in a modest tone, and the atmosphere is very calm, almost reflective. 

I listened to this album many times late in the evening, lying in bed and reading. Swart's music works perfectly in such conditions. Therefore, in addition to an extremely artistic value ("Oderan" is an album with really beautiful music), we also have a useful aspect here. It is not, however, music to buzz in the background, but wonderfully relaxing, stimulating the imagination, perfect for dreaming and being alone with your thoughts.

Artur Chachlowski

DPRP (Dutch Progressive Rock Page)

June 20, 2021 

Review ODERAN

by Jan Buddenberg

Peter Swart is a medical psychologist at a cancer research facility, dividing his spare time between his family, (comic) drawing, composing music and writing books. The music gathered on Oderan, his seventh album, is inspired on his highly regarded Science Fiction Trilogy "Kroniek van Oderan" (Oderan's Chronicles), an adventurous story about interstellar travel and a colonial mission to the far away planet Oderan, which upon arrival proves not to be as habitable as presumed.

The narrative of the books is presented by nine atmospheric and foremost instrumental compositions, where every composition is accompanied by its own synopsis in the cared for artwork. The music covers the three books in chronological order with stories focussing on relationships, planetary exploration and personal reactions of the crew to their journey's challenges.

Swart is perfectly capable of capturing the story outlines into engaging music of which the subdued serenading feel of The Tears Of Tara is a fine example. With acoustic refinement and tempting piano fragility it glides smoothly towards melancholic sadness, after which Swart carries the heartbreak of a torn love affair through his one-off caressing soft vocals.

Both the relative mildly daunting opening of Disruption and the light mysterious darkening atmosphere of The Caves speak equally to the imagination. Although the cheerful melodies and luscious guitars of the former result in alluring contrasting harmony, while the latter's focus of slow moving dreamy melodies gains brightness from minute orchestrations and occasional terrestrial Pink Floyd smoothness, instead of the expected darkness. Similarly the initial submerged feel in The Deep takes brilliant shape through submarine bleeps and percussive depth, yet the dreamy soundscapes sound more like a journey through space than an actual scary underwater mission.

This not entirely consistent correlation between music and story becomes most apparent in the laid back and New Age inspired atmosphere of Space And Planet. It floats on gently flowing dreamy movements and graciously sparkling synths and intricate symphonies. These reflect the song titles most excellently, yet in no way are these engaging passages associable with the abbreviated tale of the communities supposedly turbulent space-travel period.

The enjoyment factor of the individual compositions isn't affected by this whatsoever, for Swart's simple but captivating inornate melodies come successfully alive and glide ever so attractively along. Vibrating with positivity, expectancy and subtle bombast Swart shows his fine arranging skills in the layered spatial sound of Plains And Valleys, while his futuristic tale sees a comforting highlight in the Didier Maroauni-like Oderani Forces which alternates fluently between atmospheric, colourful yin/yang moods.

The picturesque and dreamy electronic soundscape of Dance Of The Three Moons and the accomplished lift off in Back Home, travelling slowly through sweet synth melodies that melt graciously with mellow guitars as the imaginary spaceship disappears peacefully from view, concludes Swart's delightful musical voyage.

An extra dose of dynamism and power would have given the stories about the hostile and extreme challenges of the colonists bigger impact, but nevertheless Oderan is a fine record. For the duration of an hour Oderan is capable of transporting its listener to a world of relaxing melodic symphonic rock surroundings, which in light of it's actual short length is a wonderful achievement.

Overall a recommendable effort for fans of electronic music (Kitaro) and progressive rock fans who share the likeness of a lighter Camel embraced by lovely New Age/Ambient atmospheres.

PROGWERELD 

4 mei 2021 

Recensie ODERAN

door Math Lemmen 

Na het album The Couch met vooral veel kabbelende luisterliedjes keert schepper Peter Swart na vijf jaar terug naar een science fiction achtig conceptalbum. “ODERAN” is gebaseerd op de trilogie Kroniek van ODERAN, geschreven door, inderdaad…Peter Swart.

Zijn vorige sciencefiction album, Rofloré uit 2009, was gebaseerd op het gelijknamige boek van Peter van der Laan, met wie Swart al jaren samenwerkt. Uit die samenwerking kwam de band Morphosis voort die actief was van 1975 tot 2006. Tot zover de inleidende laserbeschietingen.

De Kroniek van ODERAN handelt over de eerste koloniale missie met het ruimteschip The Spyral naar de planeet Oderan die helaas minder herbergzaam blijkt te zijn dan verwacht. De missie bestaat uit een team van ruim honderd personen, geleid door een wetenschappelijke staf van negen mensen, ieder uit een ander vakgebied. Tijdens de reis naar de planeet blijkt al dat er weinig eenheid heerst onder de missieleden, hetgeen tot een turbulente reis leidt. Daarnaast blijken de omstandigheden op Oderan niet uitsluitend gunstig te zijn en de missieleden soms met vijandige wezens worden geconfronteerd.

Genoeg stof voor een wervelend symfo-album met het nodige instrumentale vuurwerk zou je zo denken. Wie het werk van Peter Swart kent weet echter ongetwijfeld dat hij geen aanhanger van die stijl is. Hij is meer van het rustige, fraai verzorgde…

Zo schotelt hij ons een Jean-Michel Jarre-achtig klankbeeld voor waarbij zijn verzorgde gitaarspel een mooie aanvulling vormt op alle synthesizers en elektronische drums en percussie. Hij schuurt daarbij regelmatig tegen Ambient en New Age aan.

Zijn melodieën zijn over het algemeen vrij eenvoudig en liggen prettig in het gehoor. Daarbij valt op dat ze veelal uit korte, breed uitgesponnen, motiefjes bestaan die vaak een dalende lijn volgen. Hij weet ook soms verschillende melodieën op een fraaie wijze met elkaar te verweven.

Geen enkele track roept muzikaal echter een associatie op met onheilspellende gebeurtenissen of kwaadwillende personen of wezens. Misschien dat het nummer Disruption met zijn felle drums en staccato motiefje in het begin nog iets van dreiging oproept. De opgewekte melodie die daarop volgt gooit echter meteen roet in eten. Hetzelfde geldt voor Oderani Forces. Wat dat betreft dekt de muziek niet bepaald de lading.

In The Tears Of Tara zingt Swart op het eind twee strofes op dezelfde wijze als op The Couch: zeer ingetogen en bijna fluisterend. Dat is de enige vocale bijdrage op dit album.

“ODERAN” klinkt goed verzorgd met warme synthesizerklanken en een hoog melodieus gehalte. Daardoor zou het album uitstekend dienst kunnen doen als achtergrondmuziek voor het lezen van een boek of een meditatie. Het verhaal uit de kroniek komt echter geen moment tot bloei in de muziek. In die zin is “ODERAN” vergelijkbaar met “The Couch”, hoewel de muziek van een geheel andere planeet is.

PROGWERELD 

May 4th 2021 

Review ODERAN

door Math Lemmen 

After the album The Couch, with a lot of rippling listening songs, creator Peter Swart returns, after five years, to a science fiction-like concept album. ODERAN is based on the trilogy Chronicle of ODERAN, written by, indeed… Peter Swart.

His previous science fiction album, Rofloré from 2009, was based on the book of the same name by Peter van der Laan, with whom Swart has been collaborating for years. From that collaboration came the band Morphosis that was active from 1975 to 2006. So much for the introductory laser firing.

The Chronicle of ODERAN centers around the first colonial mission with the spaceship The Spyral to the planet Oderan, which unfortunately turns out to be less hospitable than expected. The mission consists of a team of more than a hundred people, led by a scientific staff of nine people, each from a different field. During the journey to the planet it becomes apparent that there is little unity among the mission members, which leads to a turbulent journey. In addition, the conditions on Oderan are not exclusively favorable and the mission members are sometimes confronted with hostile creatures.

Enough material for a dazzling symphonic album with the necessary instrumental fireworks, you would think. However, anyone familiar with Peter Swart's work will undoubtedly know that he is not a fan of that style. He is more of the quiet, beautifully kept…

He presents us with a Jean-Michel Jarre-like soundscape, in which his careful guitar playing forms a nice addition to all synthesizers and electronic drums and percussion. He regularly rubs against Ambient and New Age.

His melodies are generally quite simple and pleasant to the ear. It is striking that they often consist of short, broadly drawn motifs that often follow a descending line. He also knows how to interweave different melodies in a beautiful way.

However, no track musically evokes an association with ominous events or malevolent persons or creatures. Perhaps the song Disruption with its fierce drums and staccato motif evokes something of threat in the beginning. However, the cheerful melody that follows immediately throws a spanner in the works. The same goes for Oderani Forces. In that respect, the music doesn't exactly cover the charge.

In The Tears Of Tara, Swart sings two stanzas at the end in the same way as on The Couch: very subdued and almost whispering. That is the only vocal contribution on this album.

ODERAN sounds well cared for with warm synthesizer sounds and a high melodic content. As a result, the album could serve as background music for reading a book or a meditation. However, the story from the chronicle never comes to fruition in the music. In that sense, ODERAN is comparable to The Couch, although the music stems from an entirely different planet.

iO Pages - April 2021

Recensie ODERAN door  Martinka Zandijk – van Noorloos

Een alleskunner is hij, die Peter Swart: auteur, schilder, in het verleden gitarist van naam bij de bands Morphosis en Trema, en daarnaast brengt hij als solomuzikant ook nog eens regelmatig eigen werk uit. Jaloersmakend. 

Het nieuwste album is gebaseerd op zijn eigen SF-trilogie Kroniek van Oderan. Het werk handelt over de eerste koloniale missie naar de planeet Oderan, een planeet die grote overeenkomsten vertoont met de aarde maar waar niet alles koek en ei blijkt te zijn. 

Oderan is ideaal als soundtrack voor een film, en of hij bij de Kroniek van Oderan past, weet de muzikant/auteur uiteraard zelf het beste. Het album bevat fijn en rustig luistervoer voor liefhebbers van (lichte) symfo, filmmuziek uit de jaren tachtig en elektronische muziek. Het wordt nergens zwaar, maar ook nergens (te) oppervlakkig. Mocht je een vergelijking in de symfo willen, denk dan richting Jean-Michel Jarre en Gandalf. Het fraaie, Camel-achtige gitaarspel van de muzikant geeft dit werk beslist meerwaarde. 

Peter Swart is van A tot Z verantwoordelijk en heeft de gehele compositie, realisering en productie van het album in eigen hand. ‘Niemand kan alles,’ fluistert het nog immer jaloerse stemmetje in mijn hoofd, maar misschien is het juist een heel realistisch stemmetje. Niemand kan overal goed in zijn, tenslotte, en zo’ n solistisch werkende muzikant wil wel eens een blinde vlek hebben. Zo zou het album beslist meer body hebben gehad als er naast Peter Swart echte muzikanten bij betrokken waren geweest, want de synths en drums uit de computer doen het album soms geen goed. Op voorganger The Couch (2014) waren drummer Ron Brevé en fluitiste Marlies de Vries van de partij. Dat kwam de dynamiek ten goede. 

Toch is het uiteindelijk niet mogelijk de albums met elkaar te vergelijken, want The Couch staat dicht bij de realiteit en Oderan is een soundtrack voor een denkbeeldige film. Daarvoor is hij meer dan geschikt. De muziek is bescheiden van toon en de sfeer rustig. 

Dit is ideale muziek om een boek bij te lezen. En die prachtige gitaarpassages? Daarvoor kom je met plezier even uit je concentratie.

Martinka Zandijk – van Noorloos

iO Pages - April 2021

Review of ODERAN bij Martinka Zandijk – van Noorloos

He is an all-rounder, Peter Swart: author, painter, in the past guitarist by name in the bands Morphosis and Trema, and regularly he also releases own work as a solo musician. Jealous making. 

The latest album is based on his own SF trilogy Kroniek van Oderan. The work is about the first colonial mission to the planet Oderan, a planet that shows great similarities with Earth, but where things seems not to be as expected. 

Oderan is ideal as a movie soundtrack, and whether it fits in well with Kroniek van Oderan the musician/author knows best of course. The album contains nice and quiet listening food for fans of (light) sympho, film music from the eighties and electronic music. Nowhere heavy, nor (too) superficial anywhere. Should you want a comparison within the sympho, think of Jean-Michel Jarre and Gandalf. The beautiful, Camel-like guitar playing of the musician definitely adds value to this work. 

Peter Swart is from A to Z responsible for the entire composition, realization and production of the album. "No one can do everything," the still jealous little voice whispers in my head, but maybe it is a realistic voice. No one can be good at everything after all, and such a soloist musician sometimes wants to have a blind spot. The album would definitely have had more body with real musicians involved besides Peter Swart himself. Predecessor The Couch (2014) featured drummer Ron Brevé and flutist Marlies de Vries, which benefited the dynamics. 

Yet in the end it is not possible to compare the albums, because The Couch is close to reality and Oderan is a soundtrack for an imaginary movie. It is more than suitable for that. The tone of the music is modest and the atmosphere calm. 

This is ideal music for reading a book. And that beautiful guitar parts? For that you will gladly put your concentration aside.

Martinka Zandijk – van Noorloos

Rockplaat.nl - Januari 2021

Recensie van ODERAN door Wouter van Hal

Peter Swart is een stadgenoot van mij die ik een aantal jaren geleden heb leren kennen toen hij mij vroeg of ik zijn album The Couch wilde draaien in mijn radioshow. Hij is al sinds de begintijden van de symfonische rock met muziek bezig. Zeer actief in die tijd in een aantal redelijk succesvolle bands zoals Morphosis en Trema. Ook heeft hij onder andere gitaarpartijen ingespeeld op het album Slow Burn van Fractal Mirror uit 2016. Hiernaast heeft hij onder zijn eigen naam nu een flink aantal albums uitgebracht. Muziek is, naast een zware baan als psychotherapeut in het Erasmus MC, zijn grootste passie en uitlaatklep. Maar om het allemaal nog mooier te maken heeft hij een fantastisch science fiction drieluik geschreven over het bestaan van de mens op de planeet Oderan. Hij had het mij al eerder aangekondigd maar nu eindelijk is hierbij nu een album met de soundtrack uitgebracht eind vorig jaar. 

Het album begint met Space and Planet. Meteen ben je terug in de tijd van Jean Michel Jarre en al die andere geweldenaren op die grote synthesizers.  Een andere naam die mij meteen ingegeven wordt is die van Johan Timman. Ik was een jaar of elf toen hij het album Trip into the Body uitbracht. Vanaf het eerste nummer waarbij een capsule via een ader in het lichaam terecht kwam en via de hersenen, hart, longen en luchtpijp uiteindelijk terecht kwam in het gehoor. Deze sfeer zit ook in dit album van Peter Swart. Je krijgt als het ware via hele fraaie zweverige soundscapes een rondleiding over de planeet. Ik heb de boeken gelezen en nu met deze aanvullende muzikale ondersteuning krijgt het wel een hele bijzondere extra lading.

Er staat slechts één nummer op met de vocalen van Peter zelf. Het nummer The Tears of Tara omschrijft de gevoelens van de, in het boek omschreven figuur, biologe Tara Hanson voor de psycholoog Martin Black. Echter zit deze man gevangen in zijn dubbele gevoelens die hij ook heeft voor één van de artsen Sandra Johansen. Een kort maar heel fraai intermezzo op dit album.

ODERAN gaat eerst een reis maken langs platenmaatschappijen voordat er een cd van gemaakt wordt. Hopelijk daarna volop in de winkel, anders in beperkte oplage voor de liefhebber. Voor nu te beluisteren op de Bandcamp van Peter waarbij ook de rest van zijn solo repertoire te beluisteren is.

Een echte aanrader voor de liefhebbers van dit genre.

Wouter van Hal

Rockplaat.nl - January 2021

Review of ODERAN by Wouter van Hal

Peter Swart is a fellow townsman of mine whom I met a few years ago when he asked me if I wanted to give airplay to his album The Couch in my radio show. 

He has been involved with music since the early days of symphonic rock. Very active at that time in a number of fairly successful bands such as Morphosis and Trema. He also played guitar parts on the 2016 album Slow Burn by Fractal Mirror. And he has released quite a few albums under his own name. 

In addition to a tough job as a psychotherapist at Erasmus Medical Center Rotterdam, music is his greatest passion. But to make it all even better, he has written a fantastic science fiction triptych about the existence of humans on the planet Oderan. He had already announced it to me before, but now finally an album with the soundtrack has been released at the end of last year.

The album opens with Space and Planet. Immediately you are back in the times of Jean Michel Jarre and all those other greats on synthesizers. Another name that is immediately pops up is that of Johan Timman. I was about eleven years old when he released the album Trip into the Body. From the first song where a capsule entered the body through a vein and eventually ended up in the ear through the brain, heart, lungs and trachea. This atmosphere is also present in this album by Peter Swart. You get, as it were, a tour around the planet in very beautiful, floating soundscapes. I have read the books and now, with this additional musical support, they get a very special significance.

There is only one song on it with the vocals of Peter himself. The song The Tears of Tara describes the feelings of biologist Tara Hanson for psychologist Martin Black. However, this man is trapped in his feelings he also has for one of the doctors, Sandra Johansen. A short but very nice intermezzo on this album.

ODERAN will first make a trip to record companies before being released on CD. Hopefully there will be plenty of them in the store after that, otherwise in a limited edition for the enthusiast. For now you can listen to Peter's Bandcamp site, on which you can also listen to the rest of his solo repertoire.

Highly recommended for fans of this genre.

Wouter van Hal

Progpraat.com: Review The Couch

Peter Swart out of Maassluis. Who doesn't know him? Well, me for example. But our critic Wouter van Hal does and he alerted me to this album of the medical psychologist.

By Rinco Ennema

Swart is influenced, in his own words, by  symphonic rock of the seventies and that indeed can be heard in some songs. An album that reads like a book,  as I would call it. Different chapters, one story. The story of someone who, stretched out on the couch, is telling what he wants and can tell. Or has to tell. Lying on the couch a book full of romance is read, but not without struggle. The different tracks leads  you through the session between analyst and client. But is it a client who is being analyzed? Could it be that the analyst himself is the client? Fill it in yourself!

On this musical session, entirely written by  himself, Peter Swart is supported by Ron Brevé on drums, Marlies de Vries on flute, Anna Windig (lyrics on 'Dust' and 'Buddha'). Harry de Vries provided the artwork,  Frits van Mourik of Studio Het Pand in Vlaardingen did the engineering and Peter van der Laan cooperated as a graphical editor.

The acoustic guitar plays a large role in the music of Swart. In combination with the symphonic aspects some songs sounds like film music, which is not a disqualification: it sounds delicious. Advice: if you find this album worthwhile, then listen to the predecessors 'The Path' (2003), 'Shades'  (2006) and 'Rofloré' from 2009.

The music of Swart is available on his Bandcamp page and for lovers of light music with depth, this is a must. Stories are sung with a voice that emanates tranquility. The narratives are framed with music that sometimes are reminiscent to the sound of a bard, a troubadour from ancient times and sometimes you hear a tentative attempt to symphonic rock, but it is never abundant. Enjoy, and Wouter: Thanks for the tip!

5 januari 2015

Progpraat.com: Recensie The Couch

Peter Swart uit Maassluis. Wie kent ‘m niet? Nou, ik bijvoorbeeld. Maar wie ‘m wel kent is onze recensent Wouter van Hal en die maakte me attent op dit album van deze medisch psycholoog.

Door Rinco Ennema

Swart laat zich naar eigen zeggen beïnvloeden door symfonische rock uit de jaren zeventig en dat hoor je in sommige nummers inderdaad terug. Een album dat ‘leest als een boek’, zou ik het willen noemen. Verschillende hoofdstukken, één verhaal. Het verhaal van iemand die languit op de bank vertelt wat hij wil en kan vertellen. Of moet vertellen. Liggend op de bank leest de belever een boek vol romantiek, maar niet zonder slag of stoot. De verschillende nummers nemen je mee door de sessie tussen analist en cliënt. Maar is het wel een cliënt die wordt geanalyseerd? Zou het kunnen dat de analist zelf cliënt is? Vul dat zelf maar in!

Peter Swart krijgt op deze muzikale sessie die hij zelf volledig heeft geschreven steun van Ron Brevé op drums, Marlies de Vries op fluit, Anna Windig (teksten op ‘Dust’ en ‘Buddha’) en Harry de Vries verzorgde het artwork. Frits van Mourik van Studio Het Pand in Vlaardingen deed de engineering en als grafisch editor werd Peter van der Laan ingezet.

De akoestische gitaar speelt een grote rol in de muziek van Swart. In combinatie met de symfonische aspecten zorgt dat ervoor dat sommige nummers aandoen als filmmuziek, wat overigens geen diskwalificatie is: Het klinkt heerlijk. Tip: Als je dit album de moeite waard vindt, luister dan ook eens naar de voorgangers ‘The Path’ uit 2003, ‘Shades’ uit 2006 en ‘Rofloré’ uit 2009.

De muziek van Swart is te vinden op zijn Bandcamp-pagina en voor de liefhebbers van lichte muziek met diepgang is dit een aanrader. Er worden zingend verhalen en verhaaltjes verteld, door een stem die rust uitstraalt. De vertellingen worden omlijst met muziek die soms doen denken aan het geluid van een bard, een troubadour uit ver vervlogen tijden en soms hoor je een voorzichtige poging tot symfonische rock, maar uitbundig wordt het nooit. Enjoy, en Wouter: Bedankt voor de tip!

Progwereld - Review The Cocuh 2015 

When you are working as a psychologist, in music strongly influenced by the symphonic rock and record an album with the title "The Couch", according to me the point is made. So don't expect exuberant symphonic rock. The sympho-influences that you hear on this album are more in line with that of Anthony Phillips, Camel and the quieter work of Steve Hackett.

In the cd booklet Peter Swart  aptly outlines a number of things you could do on a Couch: discuss your dreams with your psychologist, rest after an effort, read romantic literature, meditate or just strum your guitar. Well, these activities are exactly the topics which form the basis of the compositions on this album  ...

Overall, I have listened to "The Couch" with joy. The pleasant listening experience was, however, disturbed in the song Dust, around 1:10, because of the use of a digital timpani or another strangely recorded percussive instrument. Recording-technically completely out of balance and so unnatural of sound that it seems utterly misplaced to me. Just too bad for this, in essence, beautiful atmospheric track.

The music on this album is often shaped by whispering vocals, waving melodies on guitar or keys, whether or not accompanied by a fairly static rhythm tandem. In addition regularly use is made of soundscape-like passages. Because all the songs bare these properties and have a high "couch" content they are quite exchangeable. In a number of tracks this is not a problem because their subjects seamlessly connect to that atmosphere. In compositions like Hedwig and Werther I had however, given their length, expected more musical depth. After all the books,  to which these tracks refer, contain violent mental, emotional and social themes, and Die Leiden des jungen Werthers is even an iconic book from the Sturm und Drang period of German literature.

The programmatic aspect of these numbers is insufficiently worked out. The instrumental make-up is too one-dimensional. That also applies to the opening number in which Swart, with his Duncan Brown-like voice, sings of two lurid dreams against the backdrop of quiet, almost charming music. If you do not know the lyrics, you could be thinking that it's all about a butterfly.

But that said, when you dont mind  these programmatic objections and you are a lover of the aforementioned influences, this album will  come to you as very pleasant, without reaching to higher grounds.

Math Lemmen

Progwereld - mei 2015

Wanneer je als psycholoog werkzaam bent, je muzikaal sterk beïnvloed wordt door de symfonische rock en een album opneemt onder de titel “The Couch”, is de toon wel gezet volgens mij. Je hoeft dus geen uitbundige symfonische rock te verwachten. De symfo-invloeden die je op dit album terug hoort komen meer uit de hoek van Anthony Phillips, Camel en het rustigere werk van Steve Hackett.

Heel treffend schetst Peter Swart in zijn cd-boekje een aantal zaken die je op de Couch zou kunnen doen zoals: je dromen bespreken met je psycholoog, uitrusten na een geleverde inspanning, romantische literatuur lezen, mediteren of gewoon wat op je gitaar tokkelen. Laat nou deze activiteiten exact de onderwerpen voor de composities van dit album vormen…

Over het algemeen heb ik “The Couch” met plezier beluisterd. De aangename luisterervaring werd in het nummer Dust, rond 1:10 echter danig verstoord door het gebruik van een digitale pauk of een ander merkwaardig opgenomen percussie-instrument. Opname-technisch gezien helemaal uit balans en zó onnatuurlijk van klank riep het bij mij een “Boem Paukeslag” (Paul van Ostaijen) associatie op: volkomen misplaatst. Jammer van dit verder fraaie, sfeervolle nummer.

De muziek op deze cd wordt veelal vormgegeven door fluisterende zang, gedragen melodieën op gitaar of toetsen, al dan niet begeleid door een vrij statische ritme-tandem. Daarnaast wordt er met regelmaat gebruik gemaakt van soundscape-achtige passages. Doordat alle nummers deze eigenschappen in zich dragen en ze daarbij ook nog een hoog “couch” gehalte hebben zijn ze vrij inwisselbaar. Bij een aantal nummers is dat geen probleem omdat hun onderwerpen naadloos bij die sfeer aansluiten. Bij composities als Hedwig en Werther had ik echter, mede gezien hun lengte, meer muzikale diepgang verwacht. De boeken waar deze nummers naar verwijzen bevatten immers heftige psychische, emotionele en sociale thema’s, waarbij Die Leiden des jungen Werthers ook nog eens een iconisch boek is voor de bekende Sturm und Drang periode in de Duitse literatuur. Het programmatische aspect van deze nummers komt onvoldoende tot zijn recht. Daarvoor is de instrumentale invulling te één-dimensionaal. Dat geldt overigens ook voor het openingsnummer waarin Swart met zijn Duncan Brown-achtige stem twee lugubere dromen bezingt tegen het decor van rustige, bijna lieflijke muziek. Als je de tekst niet zou kennen, zou je kunnen denken dat het over een vlinder gaat.

Wanneer je echter aan deze programmatische bezwaren geen waarde hecht en je bent liefhebber van de eerder genoemde invloeden, zal dit album je als zeer aangenaam in de oren klinken, zonder overigens tot grote hoogtepunten te klimmen.

Math Lemmen

THE COUCH

After heavier conceptalbums, based on the works of Tolkien, Hieronymus Bosch, Hans Christian Andersen and Peter van der Laan, the approach of Peter Swart on THE COUCH is, thematically spoken, somewhat lighter. The central theme consists of actions that you can perform on your lazy couch: dreaming, resting, reading, meditating and playing the guitar. 

This has created a musical pallet, in which the introvert troubadour returns to his intimate albums THE PATH and SHADES, while the more extraverted sound of ROFLORÉ only pops up in some climaxes. Therefore the 'whispersympho'  is back. 

Fans of Anthony Phillips' series Private Parts & Pieces, the quiet passages of Genesis' Trespass and the subtle play on the older records of Steve Hackett, Al Stewart and Bo Hansson can surrender themselves, relaxing in the warm, rooted in the seventies, music of the classically trained Swart. 

The main focus is on literature. Hedwig, inspired by Van de koele meren des doods of writer/psychiatrist (and thus sofa user) Frederik van Eeden, gets more than nine minutes of space to develop, while the six part suite Werther (inspired by Goethe's Die Leiden des Jungen Werthers) covers over twenty minutes. Yet there is no difference in atmosphere created in the shorter pieces, like Dust and Buddha, the latters partially supported by mellotron sounds. 

Swart starts his compositions with pleasant sounding key passages, after which his Duncan Browne-like voice, his electrical guitar solos (influenced by Hackett) and the occasional flute of Marlies de Vries colour the whole. Ron Brevé's drums provide dynamic elements, whereby the  keyboard generated fretless bass often gives a nice sliding support. Finally, of course, the acoustic sixstrings has a big part, especially in the miniature On The Couch and in Werther. So curl up on your couch, close your eyes, relax and experience The Couch. 

René Yedema

Swart, Peter - Roflore  

Autor: Aleksander Gruszczyński    

23.12.2010. 

" One day Prince Yascath sent for Rofloré and asked him to become the Master of Aräda. Rofloré answered that he had to travel first before being able to accept this life-task. So Prince Yascath ordered him to make a journey of 200 years through the souls of all Arädany of all planets of the star Kavhalán and Rofloré did so. "

The story is written by Peter van der Laan, and with the sound by Peter Swart the record is perhaps the most surprising album of recent years. The music is, rather, the background for the story, not vice versa. Peter Swart  writes that the protagonist of the story, Rofloré, is a kind of minstrel from the planet Nylyo in a quest to explore 'mystical sounds of the creator’.

The music is mostly quiet, subdued, and most parts of the text are recited. The greater part of the album consists of recurring sound themes, introducing a melancholy mood, associated with the limitless cosmos. Occasionally they are interspersed with more dynamic elements.

Peter Swart, using these minimalist forms, tries to move the listener through the infinite expanse of the universe to a star system Kavhalán. The Dutch musician wants to illustrate the loneliness and doubt, a hero of history, but also his personal development. The style which is presented in the background music very much inclines you to think, to have a look deeper into yourself and also discover your own weaknesses, but also hidden opportunities.

You can compare this album with some of the achievements of Gazpacho, as it is such 'atmospheric rock'. Gentle, acoustic sounds let my thoughts go back to the accomplishments of the 70s electronic minimalists and feel a bit like back then. The album "Rofloré" can not be listened to in the background, it has to absorb your whole being. Peter Swart is a psychologist and knows how to interest students.

At the same time, I can not say that it is a record for everyone. As I mentioned, you can not just listen to the album, so it is not intended for people who treat music as just entertainment. This album must live, you must try to empathize with the role of Rofloré, traveling between the planets in search of knowledge. Briefly summarized: I like this album, but it won’t appeal to  anyone. It is for you to reach, to become acquainted with, but you should first consider whether you will be able to empathize with this album.

Autor: Aleksander Gruszczyński   

Dutch Progressive Rock Page –2009 

Peter Swart - Rofloré 

Country of Origin: Netherlands

Format: CD

Record Label: Independent

Year of Release: 2009

Time: 40:42

Tracklist: The Dawning Of Nylyo - Roflorés Creation (4:49), Iuvenis - Yascath's Question - First Signs Of The Arädany (4:27), The Pontha - Eternal Doubt - Constantly Growing Knowledge (3:27), Mysterious Allurement - Loneliness - Strangeness Though Deep Charm (4:18), The Dream - The Symphonic Muse (4:50), Impression - Feelings Of Affection - Misdeed (5:28), Electrhythm Of Joy - The Everlasting Unification (2:24), Descriptions Of Ymyty - The Edhazherä (4:18), Dhaedra - Return - Master Of Aräda (6:41) 

Rofloré is the fifth solo album by Dutch musician and professional psychologist Peter Swart, although the first album we have reviewed at DPRP. The album is a concept about the minstrel Rofloré who sets off on a voyage through all the souls in the planetary system in which he resides to experience their artistic expressions and experience self-realisation and personal growth. After 200 years he returns to his home planet and becomes the Master of Aräda. Or something like that. The story, lyrics and narration is by Peter van der Laan, who was the singer in Morphosis a band that Swart was also a member of. The only other musician on the album is drummer Koos van Reeven. 

Some, like me, may be a bit sceptical about the presence of a narrator, being under the impression that such inclusions are only really justified when the speaker has the gravitas of Richard Burton on War Of The Worlds. And my worst fears were realised when at the end of the first track, The Dawning Of Nylyo - Roflorés Creation van der Laan starts his narration. However, it is very brief, setting the scene of the tale and only making a reappearance at the conclusion of the album. The bulk of the album is instrumental although when Swart does sing it is with a pleasant and somewhat plaintive voice. The music is quite symphonic in nature with lots of light and shade, mixing acoustic and electric guitars with piano and 70's style synths to very good effect. Generally, the style is fairly laid back which makes the heavier, electric sections appear that more intense. 

The playing throughout is very good, with the acoustic sections in particular showing that Swart is a fine technician. The classical guitar work on Impression - Feelings Of Affection - Misdeed is of particular note, which mutates into a lovely melody. There are plenty of cascading melodies and it has to be said that Swart is also a fine composer, particularly in the way that he intermingles themes and effortlessly moves between different tempos both within and between tracks. The electric guitar is used to good effect drawing on a sonic palette that enhances the variety of keyboards that are used. Apparently the album was originally going to close with a big ending but Swart decided to simply revisit the theme of Roflorés Creation in an acoustic setting because, in Swart's own words: "Whatever the course of personal growth, the core is always preserved". If I hadn't already mentioned that Swart was a psychologist, you could probably have guessed it from such a sentiment! 

Casting aside such flippancies, Rofloré is one of those albums that has the ability to get under the skin and in the right environment is a positive joy to listen to. Certainly not an album for listening to whilst driving but in those more relaxed moments of peace, quiet and solitude, it makes a pretty fine accompaniment. 

Conclusion: 7 out of 10 

MARK HUGHES 

15 september 2009 

Merlin Prog: recensie Rofloré

Dutchman Peter Swart has studied classical guitar and piano, and the two instruments make up the most important part in his compositions. With "Rofloré" he is back with his fifth album, and it is Peter van der Laan who is responsible for the lyrics. Van der Laan is also the man behind the narration on the disc, and he has written a science-fiction story that is the basis for all the music. The two above-mentioned "Peters" also cooperate in the band Morphosis on two albums, where Van der Laan was the vocalist. 

The concept of "Rofloré" is the story of troubadour Rofloré from Nylyo, who is sent on a journey to all the planets of the star Kavhalán to explore their artistic expression, and based on this comes to a self-realization and personal development. After two hundred years, he returns to Nylyo and becomes the Master of Aräda. 

On the album "The Path" Swart, who also works as a psychologist, was inspired by the books of JRR Tolkien. Swart is reasonably concerned to have good stories as the basis for his works, and he does not hide the fact that he is highly influenced by the symphonic rock from the 70's. On "Rofloré" the electric guitar has a much more prominent role than in his earlier work. In this work, there is a wonderful relaxed atmosphere, but when it fires up it seems pretty intense and with good nerve. Swart plays really well throughout the album, and has a striking good technique that is further refined with a great empathy and willingness to expose himself. We also love the mix of acoustic and electric guitars, and the general well-adjusted dynamics fit Roflorés adventure. An adventure that is accompanied by roaring and great keyboards that contribute to much of the flow of the music, electric guitar amplifies this admirably, and together they bring up a varied and exciting musical landscape. This had obviously not been possible without Swart being an excellent composer, which is further displayed in his ability to integrate and mix the most diverse topics. Apparently that does not cost a calorie, he is also able to bounce between the most diverse tempi in an excellent way both within a song, and between songs. "The Grand Final" will never be, because, true to the theme on the disc, human basic properties will always be the same regardless of personal growth. Therefore, it is very natural that an acoustic version of "Roflorés Creation" end the whole thing. 

We just have to admit that this is an album we think is extremely beautiful and filled with very exciting music. We are almost unheard fond of it.

Ulf Backstrøm

www.merlinprog.com/nordeuropa.htm 

Prog résiste 47 - Spring 2007

Review of 'Shades'

Style: Musique atmosphérique

I’m not so sure how this edition has reached me (no doubt because the former disc of our Dutch friend came to me – see PR 42). In any case, the music on Shades is not really my taste, which over the years is strongly ‘metallized’. I can only repeat what I wrote back then, but this time with more reservation.

As always the style of Peter Swart is acoustic, atmospheric, very soft, permeated with a great serenity but hardly progressive and without taking innovative risks. This is a disadvantage, although the music retains its sincerity.

Anyway, my conclusion is the same to that in 2005: that is to not fall asleep in the end, unless that’s the purpose. With that said, the music still remains beautiful.

Ainsi-Swart-il.

Jean-Luc Piérard

iO Pages no. 69 - October / November 2006

The in iO Pages no. 59-reviewed CD The Path of Peter Swart has recently be re-released.

Not only did the album receive a beautiful remix, there are also some electric guitar pieces added and the drum machine parts are largely replaced by the beautiful deep produced real drums of Koos of Reeven, which already could be heard at Shades (see iO 66).

Finally, by order of the English publisher of the works of Tolkien, the lyrics of the song cycle based on this writer are replaced by lyrics of the poet Anna Windig. Swart is now looking for a record company who is willing to release his records officially.

iO Pages No. 66 - May / June 2006

Review of 'Shades'

PETER SWART

Shades

With The Path (see iO 59) Peter Swart proved being an expert in making intimate symphonic music in the category of Anthony Phillips and Tim Storey. On Shades he manages to maintain this status and to strengthen it, with the input of drummer Koos van Reeven being of great importance. His full, but nowhere bombastic, contributions help to firmly ground compositions as ‘Krimi’ (the death/murder of a young Brazilian in London after the subway bombings taking shape as a German police film) and ‘The Maestro / Maitreya’ (about the re-emergence of this Eastern religious being). The production has also improved. Without losing the warm sound of the seventies, the music is full of vintage sounds as electric and acoustic piano, strings, Mellotron and Mooglike keyboards. Only the sliding bassynthesizer - although not disturbing – sounds a bit surrogate.

Although the number of concepts is reduced, compared with the predecessor, to one (‘The Snow Queen’, a quartet inspired by Hans Christian Andersen's fairy tale), Shades sounds as a whole and seems more coherent. This is primarily accomplished by the blending of the thirteen miniatures and the fact that a melancholy, wistful atmosphere prevails. The piano ballads ‘Summer Rain’, ‘The Father’ and ‘The Teacher’, which are whispering sung by Swart in the best Duncan Browne tradition, fit perfectly in this setting. But also ‘Rondino’ and ‘The Salmon Suite’, with classic, Phillips-like, guitar playing, contribute to the subdued character. The stillness is interrupted only when floating guitars, typically as the early 70s-sounding electric guitar (think of Bo Hansson, Gandalf and the early Genesis), stirs up the emotions. This turns ‘In The Depth There Are Shades’ and previously mentioned tracks with drum contributions, into modest mini symphonies.

René Yedema

OJE Music - May 2006

Review of 'Shades'

For the quiet summer months ....

Just like on 'The Path' Swart moves in the Anthony Phillips idiom. But besides the soothing miniatures now also longer symphonic tracks. 'Shades' is more balanced than 'The Path' and Swart takes another step in his development.

Harry 'Jojo' de Vries

Prog Résiste 42 - November 2005

Review of 'The Path'

Peter Swart 

The path

Style: ‘rock progressif atmosphérique’

Peter Swart is someone who is clearly in tune. It seems like all kinds of concerns have no hold on him. His world, in other words his music, is so sweet and of a confusing simplicity: she shows an overall peace of mind. He's probably not tormented by things. Maybe he does not even know that this is possible. Moreover, it is questionable whether this would be useful.

A piano, an acoustic guitar and a velvety voice are completely sufficient to attract the attention of the reviewer. There is little information on the internet about this artist; I must do it with the album itself and my own impressions.

Progressive? That cannot be stated. In contrast, the album is perfect to dream away. I particularly liked the beauty of the lyrics and the softness, sensitivity, and even the melancholy of this great romantic (he reminds me very much of Anthony Phillips).

This album is a delicacy that you should taste with your eyes closed, in subdued light, in evenings being in a poetic mood. One small problem: make sure you do not fall asleep before the end.

Jean-Luc Piérard

iO Pages No 59 -. May / June 2005

Review of 'The Path'

PETER SWART

The Path

It takes a lot of guts to come with a CD in 2003 partly based on the works of Tolkien. The danger to be called an opportunist who profits from the hype is indeed lurking. The Path however, the first solo album from Peter Swart, has none of the bombast of Howard Shore or similar approaches. The independent production has the same feel as many parts of the Private Parts & Pieces series of Anthony Phillips, not in the least because of the same feel of warmth of Swarts guitar compared to that of the first Genesis guitarist. ‘Along Flowing Waters’ would  not have looked out of place on Phillips’ album Antiques. In addition, there is much room for woolly sounding keyboards, which make you feel listening to an intimate gem from the seventies, were it not that sometimes you’ll be dragged into more recent days by drums and the fretless-imitating bassynthesizer.

His melancholy piano playing has this same effect as for instance Tim Story manages to create and provide a nice counterbalance to the often menacing strings and synthesizer sounds. Swart has a pleasant, almost whispering voice, somewhat akin to the late Duncan Browne and the spoken passages in ‘Tender Innocence Part 2’ and ‘Finale/The Question’ have striking similarities with Magna Carta's Seasons. On ‘Bearer Of Darkness’ from the triptych ‘A Retrospect/ Towards The Unknown’, inspired by the painting The Peddler of Hieronymus Bosch and in which a floating electric guitar evokes a beautiful Genesis-like atmosphere. His partner in the band Morphosis, Peter van der Laan, is introduced as a guest performer. All these elements make The Path to a beautiful type Lo-Fi Sympho.

René Yedema

OJE Music - March 2005

Review of 'The Path'

In the late 70’s Swart has been involved in The NeoSinfonia Association, a symphonic rock fan club. Even then he already was an excellent guitarist and he put tracks from Genesis (‘For Absent Friends’), Phillips & Rutherford (‘Field of Eternity') and Gordon Giltrap ('Reflections & Despair') into a guitar notation. The sheet music was subsequently published in the magazine Symphonic Credo. His continued interest in this music and his development as a guitarist and keyboard player in recent years has resulted in a collection of songs, solo and within the band Morphosis.

On the solo album 'The Path' Swart found inspiration in his dreams, in the works of Tolkien and the world famous painting ‘De Marskramer’ by Jeroen Bosch. Is the peddler always on the road, all the people, animals and other creatures that figure in the tracks are also underway. The first nine compositions refer to a large extent to Anthony Phillips. Both by the intimate atmosphere and by the acoustic guitar of Swart and his fine and direct, sometimes drawling way of singing. He also shows to be a very deserving player of the keyboards. The magnificent opener 'White Melancholy' let it all hear together. Also ‘Tender Innocence Part 1’, which is ingeniously put together, is a good example. There are five tracks that relate to Tolkien's world. In particular ‘Nimrodel' and 'Gandalf' stand out by the alternation of quiet passages and bombastic keys and drums. In these tracks faintly, by the way of singing, Swart relates to Robert Wyatt.

The transition between Tolkien and Jeroen Bosch is formed by two instrumental interludes, namely ‘Tender Innocence Part 2' and 'Along Flowing Waters’. The latter is a beautiful composition for guitar, with at the start and the end a few chords on the keys. Long ago Peter Swart had the opportunity to play this track in the studio of Anthony Phillips on one of his guitars. At that moment Phillips will undoubtedly have felled to be listening to himself.

'A Retrospect / Towards the Unknown' contains three connected compositions based on the aforementioned painting by Jeroen Bosch. The lyrics are written by Peter van der Laan, once frontman of The NeoSinfonia Association, who also can be heard in the declamations of 'Bearer of Darkness’. The compositions in the triptych are good and by the use of more instruments show how the tracks would sound if they were performed by a full band.

In 'The Path' Peter Swart shows to be a fine musician and composer, his genes steeped with the history of symphonic rock music. There are also downsides, I find the album at times a bit too fragmentary. 

Although it is an independent release, the production is very acceptable. Peter Swart has much more to offer. I hope he keeps up the motivation, always difficult when you have to arrange everything by yourself. Thereby he deserves support so I would say "order this CD" . I assure you, you will not be disappointed.

Harry de Vries