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Swervedriver are an English alternative rock band formed in Oxford in 1989 around core members Adam Franklin and Jimmy Hartridge. Between 1989 and 1998, the band released four studio albums and numerous EPs and singles despite a considerable flux of members, managers, and record labels. By 1993 the band's lineup had settled with Franklin on vocals/guitar, Hartridge on guitar, Jez Hindmarsh on drums, and Steve George on bass. They had emerged with a heavier rock sound than their shoegaze contemporaries, and over the next five years it evolved to include elements of psychedelia, classic pop, and indie rock.

Key Information

Record label issues and waning interest within the group led to their split at the end of 1998. A decade later, Swervedriver reunited and toured periodically over the next five years, releasing their first new material in fifteen years with the 2013 single "Deep Wound". They have since released two full-length albums, I Wasn't Born to Lose You in 2015 and Future Ruins in 2019, with touring stand-ins drummer Mikey Jones and bassist Mick Quinn permanently joining the band.

History

[edit]

Early years (1984–1989)

[edit]

Swervedriver have their roots in Oxford when schoolmates and aspiring guitarists Franklin and Hartridge along with Franklin's older brother and vocalist, Graham, and drummer Paddy Pulzer formed the band Shake Appeal in 1984. In 1987, bass player Adrian "Adi" Vines, from Yorkshire, joined the band, and the following year they released their solitary single "Gimme Fever" through Notown Records.[1][2] Shake Appeal were influenced by late '60s garage rock bands like The Stooges and MC5,[1][2] drawing similar influences from the sights and sounds of the British Leyland car factory Franklin and Hartridge walked past every day on the way to school.[3] When influence turned to emulation, the members felt they needed to develop a sound of their own. They had meanwhile turned their attention to American alternative rock acts Hüsker Dü, Sonic Youth, and Dinosaur Jr., and subsequently were inspired "to push out the boundaries of electric guitar within a pop format."[2][3]

In 1989, after Shake Appeal disbanded, Adam Franklin composed the songs "Volcano Trash", "Afterglow", and "Son of Mustang Ford" (which would become Swerverdriver's first single).[3][4] The former bandmates were impressed with his work and assembled at Union Street Studios in Oxford to record a demo,[1] with Adam Franklin shifting to lead vocals and his brother singing backup.[2] Soon thereafter, Graham Franklin and Pulzer left the band to pursue other musical interests. Growing tired of the local scene, the group had decided to head to London, and there they met drummer and Edinburgh-native Graham Bonnar, formerly of the post-punk band The Shattered Family.[5] Before leaving Oxford, they had handed their demo to Mark Gardener of local band Ride, who in turn passed it on to Alan McGee of Creation Records. McGee signed them almost immediately after listening to the tape (while riding around downtown Los Angeles in the back of a limousine) and Swervedriver was born.[1][2]

Debut EPs, Raise, and departures (1990–1992)

[edit]
"Rave Down"
Sample of "Rave Down" from the Rave Down EP (1990) demonstrating Hartridge's metallic guitar riffs and Bonnar's prominent rhythm, which set Swervedriver apart from other acts of Oxford's shoegazing scene.
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Instead of debuting with a full-length album, Swervedriver released a series of four-track EPs over the span of a year, subscribing to the popular trend in the early '90s. "If you had 4 songs ready-ish, you would record them there and then and put them all out ASAP. No such thing as 'saving songs for the album' back then," explained Hartridge.[3] The tracks were recorded at The Greenhouse & Falconer Studios in London and were all produced by the band. Swervedriver's debut offering, Son of Mustang Ford, was released on 16 July 1990[6] and included the song "Kill the Superheroes", one of Franklin's first attempts at writing in an alternate tuning.[3] Franklin stated in NME, "Son of Mustang Ford was based on the Fear and Loathing in Las Vegas idea – driving around, out of your box, over America's landscapes."[7] The EP was characterized as "a chromium-plated piece of automobile romanticism."[8] The group launched the release with an appearance on the John Peel BBC Radio 1 show on 31 July 1990, performing a select B-side from each of their three debut EPs along with the song "Over" (which would not see an official release for 15 years).[9] The release of Rave Down, the second EP in the series, followed in November.[10] Mary Anne Hobbs called its title track "a cyclone of wild, swollen riff machinery that sounds like it's been played with dislocated shoulder joints."[7] Both EPs received favorable reviews and their title singles made their way into the UK indie and metal charts. However, mainstream British music press soon shifted their focus to bands who fit easier into the shoegazer mould.[2] The group began gaining popularity in the United States, and in early 1991 Swervedriver signed with American label A&M Records[1] and went on their first US tour, a brief run of shows in support of Ned's Atomic Dustbin that kicked off at the Marquee in New York City.[11] On 22 July 1991, their third EP, Sandblasted, was released with the title single reaching number 67 on the UK chart[12] and being described as "a head-on collision between guitars raging for chaos."[13]

Swervedriver released their debut album, Raise, on 30 September 1991. It was recorded at The Greenhouse & Falconer Studios and produced by the band, like their prior EPs, and included the title tracks from all three. Regarding the group's overriding fascination with everything automotive, Franklin had said, "the car thing came from twisting around rock 'n' roll imagery. Chuck Berry used to sing about cars. T. Rex used to sing about cars, and being in the car is just a good place to hear music." The album was praised as "incurably romantic, [getting] its rocks off" as one of the "truly great albums made this year"[14] and charted 44th in the UK.[12] Swervedriver toured the UK extensively in support of the album and was invited to a second BBC Radio 1 session on 23 November 1991.[15] Producer Alan Moulder, who had worked with fellow Creation acts The Jesus and Mary Chain and My Bloody Valentine, introduced himself to Franklin at a bar at the University of North London's ULU music venue with the interest of working together.[4] Moulder met the band at Greenhouse studios and there they recorded Never Lose That Feeling,[11] Swervedriver's fourth EP, which featured the Raise outtake "The Watchmakers Hands" and the track "Scrawl and Scream", a slowed-down reworking of "Afterglow".[9]

"Never Lose That Feeling/Never Learn"
Sample of "Never Lose That Feeling/Never Learn" from the Never Lose That Feeling EP (1992), showing the band's expanding use of melody and Moulder's improved production.
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Swervedriver then embarked on a proper headlining tour of North America with American indie rock act Poster Children opening.[9] On 6 February 1992, while waiting to cross the Canada–US border for a show in Toronto, Bonnar left the tour bus to "go get a sandwich" and did not come back. Despite having fully intended to complete the tour, artistic differences between band members made it impossible for him to continue. After he spoke to Hartridge, Bonnar told him he wanted out of the band.[1][2] Dan Davis from Run Westy Run filled in for the next five dates, and then tour manager Phil Ames called on Danny Ingram from Washington, D.C. band Strange Boutique to finish the tour.[1] The group, with Ingram in tow, returned to the US in April 1992 to support A&M label mates Monster Magnet and Soundgarden and then performed a short stint in Japan.[11] Before departing on their second leg, they had mixed Never Lose That Feeling which was released on 18 May 1992; the Moulder production would be Swervedriver's final release with the original lineup.[11] Hartridge viewed the title track's riff as "a bit of a bridge between Raise and Mezcal Head in some ways"[11] and the song would reach number 62 on the UK charts.[12] Using footage from their first leg of touring, A&M representatives Jeff Suhy and Scott Carter produced the video On the Road with Swervedriver: A Rockumentary, which also featured interviews and the music videos for "Son of Mustang Ford" and "Sandblasted", and released it on 14 May 1992.[16][deprecated source] Just as they started to experience a rise in success, Swervedriver would hit another roadblock—in addition to them losing their manager, following a performance at the Hultsfred Festival in Sweden on 8 August 1992, Vines left to form heavy metal-oriented Skyscraper.[11] Having already suffered the loss of Bonnar, the loss of Vines, whom some considered the face of the band,[4] led music press to believe it would be difficult, if not impossible, for the band to sustain their momentum.[2][4]

Mezcal Head and new lineup (1993–1994)

[edit]

Ultimately all that remained of the band according to Franklin was, "myself, Jimmy Hartridge and some effects pedals", though Moulder still anticipated producing a full-length Swervedriver album.[11] Franklin and Hartridge laid the groundwork for a new album at EMI's demoing studio near Oxford Street in London, and while recording newly written "Duress" with producer Marc Waterman, he introduced them to Jeremy "Jez" Hindmarsh, ex-drummer of the London band 5:30. (Waterman had produced their first album.) Later that night, Hindmarsh approached the duo at The Murray Arms bar in Camden Town and pitched them his services, including use of his 16-track studio equipment. They accepted and Swervedriver had their new drummer.[2][11][17] The group got to work on recording their new album first at Playground rehearsal studios in Camden and then Trident 2 studios in Strutton Ground in Westminster,[11] with Franklin and Hartridge splitting bass duties.[2] Swervedriver would still need a bassist when the show hit the road, and Franklin would encounter him at another bar in Camden.[11] About meeting Essex-native Steve George, Franklin recalled, "He actually came up to me and said, 'You're the guy from Swervedriver. You need a bass player. I'm your man.'"[4]

On 12 August 1993, the band released their second album, Mezcal Head, produced by Alan Moulder and Swervedriver. Franklin and Hartridge credited Moulder for making the album sound "big and clear" and doing "way more for us than we had hoped for."[11] The album debuted at number 55 in the UK[12] and was critically acclaimed[1]—NME asserted, "you are defied not to sit back, ride its massive cadences, revel in its classical form and sleek lines, and... fall helplessly in love."[18] Later reviews praised it "combined the best elements of shoegazing with grunge and even American indie rock"[19] and "really is the lost classic of the shoegaze movement."[20] Its first single, "Duel", garnered both NME's and Melody Maker's "Single of the Week"[2] and hit number 60 on the UK chart (their highest charting single to date).[12] The band shot two videos for the single: a self-produced snowboarding excursion at Mount Hood and a big-budget MTV effort set in downtown Los Angeles, which included new bassist George.[11] Swervedriver set off touring for the album in the UK and then moved to North America in late 1993 to join Shudder to Think and the Smashing Pumpkins,[21] solidifying a strong American following in the process.[1]

"Last Train to Satansville"
Sample of "Last Train to Satansville", the second single from Mezcal Head (1993). This clip showcases Franklin's stream-of-consciousness lyrical style and the multi-layered sound of Hindmarsh's drumming.
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In early 1994 the album's second single, "Last Train to Satansville", was released. Critics and fans alike were drawn to Hindmarsh's deeper, harder-hitting drumming and Franklin's stream-of-consciousness narrative,[2] describing it as "the height of alt-rock badassery ... with a monster guitar riff and chunky rhythm"[20] and a "menacing spaghetti western bite."[1] The single, along with "Duel", would be featured with songs from other A&M artists in the video game Road Rash for the 3DO system. Meanwhile, the group continued touring with fellow Creation act Medicine in Europe, Australia, and Japan.[2] Later that year Swervedriver would put out their first single with George on bass, the "limited edition export series, deleted on day of release" 8-track recording, "My Zephyr", on boutique label The Flower Shop.[22]

Ejector Seat Reservation and label troubles (1995)

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Bassist Steve George performing with Swervedriver in 2011

Swervedriver's third album, Ejector Seat Reservation, was recorded primarily at Church Studios and Konk Studios in Crouch End, North London and again produced by the band and Alan Moulder. Aside from themes of fatalism and flight working their way into its composition, "for some reason we were wanting to reverse the notion of being the band with the American references in our songs and so some very British reference points appeared in the lyrics," explained Franklin.[23] The band had a dispute with McGee over picking the album's launching single—they thought "The Other Jesus" was the obvious choice but McGee overrode them, selecting "Last Day on Earth" in an attempt to capitalize on the current trend perpetuated by Britpop bands like Oasis of featuring strings and acoustic guitars.[4] Initial promo pressings of the record including the additional track "It's All Happening Now" had to be withdrawn after permission to use lyrics lifted from Bob Dylan's "It's All Over Now, Baby Blue" was denied. (They would later be given away to fan club members.) These incidents would prove to be just a precursor to the group's album woes, however. Realizing a vanishing return on their investment, American label A&M cut the band's funding, telling them the album would not fit into their release schedule for another year and a half. In response, the group requested to be released from their contract.[17][24] With its loss of the band's licensing to A&M (approximately US$350,000 per album), an already financially troubled Creation released Ejector Seat Reservation domestically on 15 July 1995 but dropped the band a week later. Subsequently, it received no promotional support (aside from a few small ads) and would remain unreleased in North America.[17][24]

"The Birds"
Sample of "The Birds" from Ejector Seat Reservation (1995) demonstrating Swervedriver's incorporation of classic pop influences and George's deep bass lines.
Problems playing this file? See media help.

Ejector Seat Reservation did get some press in mainland Europe (specifically France and Germany)[4] and received significant support from licensee Sony Music in Australia, including an invitation for the group to tour the country at the end of the year,[23] but that did not prevent it from becoming Swervedriver's poorest selling album. Despite its lack of commercial success, critics have considered Ejector Seat Reservation to be the band's highest achievement.[1][24] Andy Kellman of AllMusic crowned it their "most cohesive and concise record, best experienced in whole," which "Swervedriver effortlessly committed ... as if they had it in them all along."[24] Magnet magazine's Gil Gershman complimented it as the "work of artists enjoying a towering creative high" that "should have topped every chart and won legions over to the Swervedriver cause." With the addition of George's deep grooves to the mix, melodic efforts like "The Birds", "How Does It Feel to Look Like Candy?", and "Last Day on Earth" saw Swervedriver branching out from their metallic roots and demonstrating their expanding influences in the likes of Elvis Costello,[2] Burt Bacharach,[24] and T. Rex.[4]

99th Dream and breakup (1996–1998)

[edit]

Swervedriver appeared to rebound when they signed a three-album deal with DGC Records (a subsidiary of Geffen Records) in early 1996. Originally, the first album in the deal was to be an American release of Ejector Seat Reservation; the band had attempted to talk A&M into relinquishing them the rights, but after news of their talks with Geffen was publicized on the Internet, A&M had come back with an exorbitant price for its sale (to avoid the same missed opportunity after previously dropped Soul Asylum hit it big with 1992's Grave Dancers Union).[4][17] With their advance, they finished building their own recording studio, Bad Earth in Farringdon, and instead began work on a new record for the label.[2] Over the next year, the group would record 99th Dream with Moulder at the helm, this time taking a more simple, laid-back approach than with previous productions. They scaled back from 48-track to 24-track recording, condensing the layering of guitar in the process, and employed more full-ensemble straight live track, partly with the mindset of making it easier to play the guitar lines live.[17][25] During that time, the band also put out a pair of self-produced boutique label seven-inch singles, including the double split "Why Say Yeah" with indie collaboration act Sophia.[26] DGC distributed promotional copies of the album and scheduled a release date of 7 May 1997.[2] Meanwhile, in December 1996 Swervedriver went back into the studio and re-recorded the album track "These Times," citing their growing dislike for the original's faster-paced, Oasis-like sound[27] and a bad experience with one of the label's reps during mixing.[4] Three and a half weeks before 99th Dream was due to be released, DGC dismissed the band's A&R representative, Jody Kurilla, in a corporate downsizing and three hours later terminated their contract (though they would not impede the record's future release).[2][4][28] Considering the recent break with their third label in two years, Hindmarsh stated, "Someone from A&M once told us that it takes four or five listens to a Swervedriver album to see whether you like it or not, and in this marketplace, unless you can hit immediately it's not going to register with people."[28]

"These Times"
Sample of "These Times", the third single from 99th Dream (1998). This segment exemplifies the album's more laid-back rhythms and Swervedriver's move towards an indie rock sound.
Problems playing this file? See media help.

Still determined to get the album out, Swervedriver forwent signing with one of two other interested major labels and instead opted for independent label Zero Hour Records out of New York.[17] They officially released 99th Dream, their fourth album, on 24 February 1998. The band also formed their own label, Sonic Wave Discs (SWD), and on 10 August 1998 issued the album in the UK.[2][29] About the album's progression to a more indie rock style,[30] Franklin told The Star-Ledger, "It wasn't a conscious decision. [It was] just the way it was going – concise little pop songs, bossa nova beats and such." He continued, "I've always liked the idea that you don't always know where it's coming from... [The lyrics are] all about time. It's all over the place. I didn't put too much thought into it, which may be good. You're fueling more from the subconscious that way."[31] In an interview for Mean Street magazine, Hindmarsh mentioned, "There's a track called 'She Weaves a Tender Trap.' That's like a one-take, all-four-of-us thing, and it has a lot more air in it, a lot more space. Whereas in the past, we used to try and fill every single hole. That song sort of defines a change in the way we're thinking. I think we're headed that way, to leave space to let the music breathe a little bit."[17]

Reviews of the album were mixed, mainly around the band's shift from the heavier, multi-layered composition of previous releases to a more acoustic, song-based sound that at times seemed disjointed.[1][4][17] "Though the weakest of Swervedriver's four long-players of the '90s, 99th Dream still shimmers and sizzles like the work of shamefully few bands of the time," asserted Andy Kellman of AllMusic.[32] Tom Sinclair of Entertainment Weekly concurred: "The sheer heaviness of the old Swervies is much missed, but even on cruise control the band has a singular intensity, not to mention a sharp sense of songcraft."[33] Proponents of the release maintained it "mixes the tempos up with equal parts 'Brit' to 'rock,' blending into a nice mix"[34] and "never makes grandiose rock and roll promises, only to let the listener down later."[30] Yet, not all reviews were favorable; NME lambasted the effort as an attempt "to bung some lazy-eyed melody swoons, Mexican twangs and comatose rock-outs over the trademark billowing whale flatulence,"[35] and Drop-D Magazine opined, "The slow, druggy pace and fascination with their own weird noises work against them."[36]

Swervedriver would spend the rest of the year touring extensively for the album. The band performed a promo gig opening for Hum on 26 February 1998 at Irving Plaza in New York[29] and kicked off a North American stint in late May with acts such as Sianspheric,[4] The Dandy Warhols, and Beck.[37] The tour swung to the UK at the end of July, and discussions started within the band about a break: "it cropped up – 'Is this fun? Are we having fun doing this?' I guess we kind of weren't," spoke Franklin in a 2011 interview. They ultimately decided to keep going until the end of the year, honoring their touring commitments, and then according to Franklin, "take a bit of a time out... although it did seem like the end, to me."[38] The group returned to the US to headline a nine-show club tour in the Northeast; they immediately followed with a wide-ranging Australian tour opening for Powderfinger,[38] with their last show taking place at Bootleg Brewery in Margaret River near Perth on 13 December 1998.[29]

That year also saw the release of two more works through Swervedriver's personal label. The EP Space Travel, Rock 'n' Roll, released on 10 February 1998 as an Australian single, showcased Hindmarsh's first experimentation with looping.[26][37] The 6 July 1998 single "Wrong Treats" ("These Times" in Australia) would be the band's last offering before their ultimate hiatus and featured the instrumental "Homeless Homecoming", a recording begun during a soundcheck at the Metro Club in Sydney, and a cover of T. Rex's "Château in Virginia Waters".[26]

Hiatus and non-Swervedriver activity (1999–2007)

[edit]

In addition to being burned out from the rest of their tour, the band members were growing tired of the encompassing drug scene at their studio space and had entertained selling Bad Earth Studio to Ash before the building lease ran out on them.[4] As they closed down the studio and moved their gear out, the reality of an indefinite hiatus sunk in.[38] Franklin embarked on a solo career that would come to rival his previous band's creative output, first as the experimental electronic pop/folk group Toshack Highway, whose releases ranged from six-piece ensemble works to four-track bedroom recordings, and then as a more traditionally guitar-driven solo artist, continuing to this day as Adam Franklin & Bolts of Melody.[39] Hartridge went on to establish a distribution company.[4] Hindmarsh turned to managing bands full-time under Badearth management, which he founded in March 1998,[40] eventually contracting with Scottish rock band Terra Diablo.[41]

In the beginning of 2005, the group convened in a collaboration with Castle Music to decide on songs for a retrospective. Juggernaut Rides '89–'98 compiled 33 tracks remastered from the original DATs[4] (almost half of which being non-album tracks) and was released on 14 March 2005.[29] The two-CD anthology featured four previously unreleased songs, including Shake Appeal's "Son of Mustang Ford" demo from 1989 and the remainder of Swervedriver's 1998 recordings, "Just Sometimes" and the orchestral string accompanied "Neon Lights Glow".[26] Regarding the production effort for Juggernaut Rides, Franklin told Tape Op magazine, "Me and Jimmy sat there [during the remastering] and said, 'Wow this is pretty great.' You do forget things about the various tracks,"[4] and said to Australia's The Vine, "I quite like the fact that it's not chronologically laid out, so you just jump straight into the middle."[38] Reviews touted it as "Swervedriver's beautiful corpse"[42] and asserted that it "proves they were so much more than just another underachieving T-shirt band."[43]

The following year on 24 November 2006, Hindmarsh published the autobiographical book Rider (Lulu.com self-publishing), which chronicles his experiences and observations on the road touring from 1992 to 1998 with Swervedriver.[44] Meanwhile, Franklin had begun an indie rock collaboration with Interpol drummer Sam Fogarino under what would become the moniker Magnetic Morning.[45] At the time, Franklin held little optimism for a Swervedriver reunion as they were all deep in individual pursuits[4] but by mid 2007 had changed his outlook, referring positively to the successful 2004 reunion of the Pixies during an interview promoting his first release as a solo artist, Bolts of Melody.[46] The former bandmates would get together with serious intentions shortly thereafter, when the idea resurfaced in a phone conversation between Franklin and Hartridge in early October 2007;[25] on 19 October 2007, they officially announced that Swervedriver would reunite for a 2008 international tour.[47] Hindmarsh confirmed the news on the band's discussion forum the following day: "Yep – it's true. Your enthusiasm & passion for the band over these past years has been truly awe-inspiring. Humbling in fact."[48] Franklin released the following statement on 6 November 2007 about the band getting back together:

So it looks like Swervedriver will hit the road once more. It all happened quite quickly and we met up in a pub in London last month and figured out what we'd like to do, which at this point is just heading out and playing some shows again.

As far as new recordings are concerned, I already have two albums to record next year (a new 'solo' and [Magnetic Morning] debut) and they take priority. Maybe the Swervies can rustle up a new tune or two but really, there's more than enough going on with that back catalogue already.

I gotta say that something that really sparked my interest in this was hearing the live version of "Sandblasted" that has been posted for some time at swervedriver.com and subsequently at the MySpace page. I'd just never heard it played like that before. I mean, I guess I was there and everything, but it's got this great kinda country style to it that sounds like it might have only happened one night, and it's stuff like that that keeps the whole thing alive to me... not only in the music but the fact that other folks cared enough to record and post these recordings.[49]

Reunion tour and activity (2008–2013)

[edit]

Swervedriver kicked off their reunion tour on 27 April 2008 at the Coachella Valley Music and Arts Festival in Indio, California and continued through North America for the next two months. The band then performed a pair of shows in Great Britain at the Scala London and King Tut's Wah Wah Hut in Glasgow on 16 and 18 September 2008, respectively. On the heels of the tour's success, remastered and extended editions of Raise, Mezcal Head, and Ejector Seat Reservation were reissued in the UK by Sony BMG on 13 October 2008. The special edition Digipaks contained four rare album-era bonus tracks and a 16-page booklet with expanded artwork and liner notes written by Franklin and Hartridge. Label collaboration Second Motion Records/Hi-Speed Soul licensed the Raise and Mezcal Head reissues and released them to American audiences on 20 January 2009.[49]

Swervedriver would go on to conduct a series of mini-tours over a year-and-a-half span (working around Franklin's busy solo career) beginning in late 2009 with another short stint in the UK.[49] This first mini-tour culminated at the three-day All Tomorrow's Parties music festival at Butlin's holiday camp in Minehead from 4–6 December 2009, in which they shared a lineup with the likes of My Bloody Valentine, Sonic Youth, Buzzcocks, and Bob Mould.[50] They regrouped a year later, this time reuniting with original drummer Bonnar, for two Scandinavian gigs in early November 2010 followed by a four-show trip to Australia in February 2011, attending the Perth International Arts Festival on 20 February 2011. In mid-June 2011, the band hit the three major US cities and Toronto with Mikey Jones of Bolts of Melody and Brooklyn dream pop act Heaven filling in for Bonnar, who was unavailable.[49]

In preparation for an early 2012 American tour, Swervedriver appeared on Late Night with Jimmy Fallon on 26 March 2012, performing their debut single "Son of Mustang Ford" and premiering the song "Deep Wound", their first new material in 14 years, which was mixed and engineered by Albert Di Fiore.[49] The tour went on for the next two weeks (with Jones again on drums), during which the band conducted a four-song studio session for KEXP 90.3 FM in Seattle on 4 April 2012, again playing "Deep Wound".[51]

In June 2013, the band announced a five-date tour in Australia for late September–early October 2013 during which they would be performing Raise in its entirety along with "old and new highlights".[52] The following month they recorded "Deep Wound" and on 20 August 2013 announced the single's release through Tym Records, scheduling a release date of 26 September 2013 to coincide with the start of the mini-tour. A limited number of purple seven-inch singles were made available for presale and limited edition red and yellow singles were sold during the tour.[49]

I Wasn't Born to Lose You and Future Ruins (2014–present)

[edit]

At the conclusion of their "Raise" mini-tour, Swervedriver began recording material for a new album at Birdland Studios in Melbourne and then continued work at Konk Studios over the first half of 2014.[53] The band took a break from recording to reprise a one-off "Raise" show at The Garage in Highbury, London on 4 April 2014.[49] On 7 January 2015, the band announced that their new album, titled I Wasn't Born to Lose You, would be released on 3 March 2015 through the Cobraside record label.[54] The first single off the album, "Setting Sun", was released on 13 January 2015.[54] When Steve George was unable to perform at some of the band's March 2015 US shows, Mick Quinn formerly of Supergrass acted as a fill-in bassist. As of 2018, Quinn is listed as a permanent member on Swervedriver's website and 2019 album, Future Ruins.

Musical style

[edit]

The band's sound has been labelled as shoegaze,[51][55][56] alternative rock,[51][57] dream pop,[58] and grunge.[56]

Band members

[edit]

Current members

  • Adam Franklin – vocals, rhythm and lead guitar (1989–present)
  • Jimmy Hartridge – lead guitar (1989–present)
  • Mikey Jones – drums, percussion (2011–present)
  • Mick Quinn – bass (2016–present; touring 2015)

Former members

  • Graham Bonnar – drums (1989–1992, 2010–2011)
  • Adi Vines – bass (1989–1992)
  • Dan Davis – drums (1992)
  • Danny Ingram – drums (1992)
  • Jez Hindmarsh – drums (1993–1998, 2008–2010)
  • Steve George – bass (1993–1998, 2008–2015)

Timeline

[edit]

Discography

[edit]
Main article: Swervedriver discography

[59]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Swervedriver

View on Grokipedia
from Grokipedia
Swervedriver is an English alternative rock band formed in Oxford in 1989 by core members Adam Franklin (vocals and guitar) and Jimmy Hartridge (guitar), initially with bassist Adi Vines and drummer Graham Bonnar. The band emerged from the late-1980s Oxford music scene, evolving from earlier punk-influenced projects like Shake Appeal, and quickly gained attention for blending shoegaze's dreamy textures with the heavier, riff-driven energy of American noise rock acts such as Dinosaur Jr. and Sonic Youth. After relocating to London, they signed with Creation Records in 1990 following a demo tape submission discovered by label founder Alan McGee via Ride's Mark Gardener, debuting with the EP Son of Mustang Ford that year. Swervedriver released four studio albums during their initial run from 1991 to 1998: (1991), which established their swirling, psychedelic sound; (1993), featuring hits like "" amid lineup changes; Ejector Seat Reservation (1995), a rawer effort that was their final release on Creation before being dropped by the label; and 99th Dream (1998), issued via indie label Zero Hour following a major-label rejection by Geffen. The group faced challenges including drummer Bonnar's abrupt departure in 1991 and subsequent rhythm section shifts to Jez Hindmarsh on and Steve George on bass, but their dual-guitar attack and Franklin's ethereal vocals defined their noisy, atmospheric style. Following a hiatus after 99th Dream, during which Franklin pursued solo work and projects like Bolts of Melody and Toshack Highway, Swervedriver reformed in 2008 for live performances and fully reunited around 2012. They signed with and released their fifth , I Wasn’t Born to Lose You, in 2015, followed by Future Ruins in 2019 and Doremi Faso Latido in 2024, both critically praised for recapturing their signature propulsion while incorporating matured songwriting. The band remains active as of 2025, touring internationally and releasing the EP The in March 2025, with the core duo of Franklin and Hartridge, augmented by current members including drummer Mikey Jones.

History

Formation and early years (1984–1989)

Swervedriver's origins trace back to the music scene in 1984, when guitarist Adam Franklin and schoolmate Jimmy Hartridge co-founded the band Shake Appeal, initially influenced by the raw energy of late-1960s acts such as and MC5. The group, named after a song, emerged amid 's post-punk environment, where local acts grappled with the era's dominant goth and glam pop trends, but Shake Appeal drew from and Detroit-style for a more visceral sound. By 1987, Shake Appeal had gained local recognition, being voted the best band in by gig-goers, with an early lineup featuring Adam Franklin on guitar, his brother Graham Franklin on vocals, drummer Paddy Pulzer, and bassist Adi Vines. As Shake Appeal evolved through the late 1980s, the band experimented with a heavier, more experimental style incorporating noise rock elements, marking an early shift toward the guitar-driven alternative rock that would define their later work. Franklin transitioned to lead vocals—a role he initially resisted—while the group relocated to London and performed under temporary names like Junk and Rollercoaster to test their new direction during informal live shows. Influences from contemporaries such as Sonic Youth and Dinosaur Jr. began to shape their sound, blending post-punk aggression with expansive guitar textures that hinted at emerging shoegaze aesthetics. The band officially formed as Swervedriver in 1989, solidifying its initial lineup with Adam Franklin on vocals and guitar, Jimmy Hartridge on guitar, Adi Vines on bass, and Graham Bonnar on drums. That year, they recorded an early demo featuring tracks like "Son of Mustang Ford" and "Afterglow," which was passed to Ride's Mark Gardner and subsequently reached Creation Records founder Alan McGee, who signed them after listening while driving in Hollywood. The name Swervedriver evoked rock 'n' roll imagery tied to American car culture, reflecting the band's fascination with themes of motion and escape, as Franklin later noted: "The car thing came from twisting around rock ‘n’ roll imagery." Their first performance under the new moniker occurred in Liverpool, opening for the House of Love, signaling the start of rehearsals focused on a dynamic, riff-heavy alternative rock approach.

Debut releases and lineup changes (1990–1992)

Swervedriver released their debut EP, Son of Mustang Ford, in July 1990 on in the UK, marking the band's entry into the scene with its driving guitar textures and feedback-heavy sound. The EP featured the title track "Son of Mustang Ford," alongside B-sides "Flawed," "Out," and "Volcano Trash," which showcased the band's evolving style influenced by and Loop. Later that year, in November 1990, they followed with the Rave Down EP on the same label, including the lead track "Rave Down," "She's Beside Herself," "Afterglow," and "Zedhead," earning praise for its innovative blend of atmospherics and propulsive rock energy. These early releases positioned Swervedriver as key players in the UK's movement, with critics noting their ability to merge hazy guitars with dynamic rhythms. Building momentum, the band issued the Second Skin EP in May 1991 on , featuring "Second Skin," "Kill the Superheroes," "The Other Motherfucker," and "She Said," which further highlighted their muscular guitar work and helped solidify their reputation. That summer, Swervedriver recorded their first session for on July 31, 1990, performing tracks like "Rave Down" and "Son of Mustang Ford," which aired and boosted their visibility among indie listeners. A second Peel session followed on November 23, 1991, capturing live versions of songs from their growing catalog and underscoring their raw live energy. These sessions, along with the EPs, generated significant hype in the UK underground scene. In 1991, Swervedriver signed with for distribution in the , expanding their reach beyond Creation's base, and released their debut Raise on September 30. The album included singles "Son of Mustang Ford" and "Rave Down," alongside new tracks like "Sci-Flyer," "Pile-Up," and "Deep Seat," produced by the band themselves at The Greenhouse and Falconer Studios. Critically acclaimed for its "muscular, scorching guitars" and themes of escape and mobility, Raise was hailed as a standout record, evoking the thrill of an open-road drive and distinguishing itself from contemporaries like My Bloody Valentine's more introspective sound. The release was supported by an extensive tour, introducing the band to American audiences through live performances that emphasized their feedback-laden intensity. Early US exposure came via college radio airplay for Raise, where tracks like "Rave Down" gained traction among alternative stations, signaling a shift toward the American market. This period also saw the band open for established acts, building their profile stateside. In 1992, Swervedriver released the Never Lose That Feeling EP on Creation, featuring the epic title track "Never Lose That Feeling/Never Learn," "Scrawl and Scream," and "Hands," which captured their peak form and served as a bridge to future work. Lineup changes began to impact the band in 1992, following intensive touring including a US stint supporting . Drummer Graham Bonnar departed due to creative differences and personal relocation, having contributed to and the early EPs. Bassist Adi Vines left shortly after the Never Lose That Feeling sessions, citing touring strains, leaving core guitarists Adam Franklin and Jimmy Hartridge to rebuild. These departures marked a transitional phase, with temporary musicians filling in for live dates as the band focused on the US market.

Mezcal Head and lineup evolution (1993–1994)

In 1993, Swervedriver recorded their breakthrough second album, , with producer at Trident 2 Studios in , alongside additional sessions at locations including Famous , First Protocol Management's studio, Splatterhouse Studios, and . The production highlighted the band's layered guitar textures and dynamic shifts in intensity, transitioning from the murky, distortion-heavy sound of their debut to a more expansive and structured approach with clearer melodic lines and rhythmic drive. Mezcal Head was released on 27 September 1993 by in the UK and on 5 October 1993 by in the US, marking the band's major-label debut in . Key tracks like "Duel," "Blowin' Cool," and "Last Train to Satansville" showcased propulsive riffs and narrative-driven lyrics evoking road-trip urgency and noir themes, contributing to the album's cohesive momentum. It achieved moderate chart success, peaking at number 55 on the and spending one week in the Top 100. Amid lineup instability, drummer Graham Bonnar and bassist Adi Vines had departed in 1992 following the US tour supporting , leaving core members Adam Franklin and Jimmy Hartridge to handle bass duties initially alongside new drummer Jez Hindmarsh, whose powerful playing added fresh energy to the rhythm section for the album recording. In 1994, bassist Steve George joined permanently, completing the classic quartet that would define the band's sound for years. This stabilization allowed Swervedriver to focus on touring without further disruptions. From late 1993 through 1994, the band embarked on extensive and European tours to promote the album, including high-profile support slots for on their Rock Invasion tour, which exposed Swervedriver's -infused rock to larger alternative audiences and elevated the genre's profile beyond the scene. Critics lauded Mezcal Head for maturing into tuneful with pop accessibility and visceral guitar assault, hailing it as a "lost classic" despite its underwhelming sales.

Ejector Seat Reservation and label issues (1995)

In 1995, Swervedriver self-produced their third studio album, Ejector Seat Reservation, primarily at their own Splatterhouse Studios in Oxford, with additional recording sessions at Konk Studios in London, The Fortress in Oxford, and Abbey Road Studios for string arrangements. The band collaborated closely with engineer and co-producer Alan Moulder, incorporating raw demo elements such as drum tracks recorded at Broadcast Lane Studios in Toronto to capture an organic, clattery sound that diverged from the polished production of their previous album, Mezcal Head. Tracks like "Blowin' Up" and "The Other Side of You" highlighted this experimental approach, blending shoegaze textures with psychedelic drones and untitled interludes that added atmospheric depth. The album was released on July 13, 1995, by in the UK, but received no initial distribution after declined to pick it up amid ongoing merger-related uncertainties following their distribution partnership with A&M. Critics praised its innovative edges, with noting the integration of and drone into the band's guitar-driven style, awarding it 4 out of 5 stars for its bold evolution. However, commercial performance was dismal, hampered by the absence of a market and minimal promotion during the rising wave, which further marginalized acts. Tensions with Creation escalated over creative control and support, including the label's insistence on "Last Day on Earth" as the despite the band's preference for "The Other Jesus," resulting in shelved releases and a severely limited touring budget that restricted live promotion. Geffen's refusal to commit, citing poor projected sales based on prior advances not being recouped, compounded the frustration, as the band had partially funded the recording through earlier label support before being effectively dropped mid-process by A&M's oversight. Creation ultimately severed ties just one week after the album's UK release, leaving Swervedriver without major-label backing. These external pressures exacerbated internal band strains, with vocalist Adam Franklin later describing the period as chaotic due to relentless touring fatigue from supporting , which had left members physically and creatively drained. The fallout marked a pivotal shift, prompting the band to seek independence by aligning with the indie label Fire Records for future UK distribution, reconnecting with their underground roots amid the major-label turmoil.

99th Dream and band breakup (1996–1998)

Following the release of Ejector Seat Reservation in 1995 and subsequent label troubles with A&M and Creation Records, Swervedriver signed with DGC Records (a Geffen imprint) and began recording their fourth studio album, 99th Dream, in 1996. The sessions took place primarily at Bad Earth Studios in London, with mixing handled at Konk Studios, under the production of Alan Moulder and the band itself; engineering was led by Dick Green. The album featured a polished, psychedelic sound with extended guitar textures, highlighted by tracks such as the title song "99th Dream" and "For Seeking Heat," which showcased the band's evolving blend of shoegaze and alternative rock elements. Recording wrapped in 1997, but the album's release was postponed amid ongoing industry challenges. 99th Dream was eventually released on February 24, 1998, in the via the independent label Zero Hour after DGC dropped the band post-recording, citing lack of commercial viability; in the UK, it appeared on the band's own Sonic Wave Discs imprint. The album received mixed , praised for its melodic sophistication and atmospheric depth but critiqued for a perceived over-polished production that diluted the raw energy of earlier works. Promotion was minimal due to the absence of major-label support, limiting its reach despite the band's efforts to tour in support. In 1997 and 1998, Swervedriver undertook extensive tours, including numerous dates and performances opening for acts like Hum, as well as European shows, though these were marked by increasing internal disillusionment with the music industry and personal exhaustion from years of relentless activity. The band played over 80 concerts in 1998 alone, often debuting 99th Dream material live, but the grueling schedule exacerbated burnout. The group officially disbanded at the end of 1998, following the dissolution of their DGC contract and a culmination of label rejections, financial strains, and creative fatigue that left members feeling the project had run its course. In the immediate aftermath, frontman Adam Franklin and other members shifted focus to solo endeavors, with Franklin launching the project Toshack Highway.

Hiatus and side projects (1999–2007)

Following the release of 99th Dream in and subsequent tour exhaustion, Swervedriver entered an indefinite hiatus in 1999, with the band's final performance occurring on December 13, , at Bootleg Brewery in Margaret River, . Core members Adam Franklin and Jimmy Hartridge, along with bassist Steve George and drummer Jez Hindmarsh, pursued separate paths amid frustrations with label support and internal burnout, marking a decade of dormancy without formal dissolution or reunion discussions until late 2007. Adam Franklin remained the most active musically, forming the project Toshack Highway shortly after the hiatus began, which blended atmospheric pop with ambient electronic elements and featured collaborations with various musicians. The self-titled debut album arrived in 2000 via Catapult Records in the and Flower Shop in Europe, followed by the EP Everyday, Rock 'n' Roll Is Saving My Life in 2001 and the full-length in 2005, showcasing Franklin's shift toward more introspective, trippy rock textures. By 2007, he transitioned to solo work under the moniker Bolts of Melody, releasing the album Bolts of Melody on Hi-Speed Soul, which explored neo-psychedelic and influences while Franklin toured sporadically with new lineups. Jimmy Hartridge, meanwhile, pivoted to the music industry behind the scenes, handling press and for record labels and later establishing his own business ventures outside performance. Bassist Steve George relocated to the English countryside, engaging in intermittent songwriting and occasional session work to maintain his creative output without pursuing high-profile projects. Jez Hindmarsh founded a management and consultancy firm, leveraging his industry experience, and published the Rider in , detailing his time with Swervedriver and the touring rigors of the 1990s scene. During this period, a 2005 double-disc compilation, Juggernaut Rides '89–'98 on Castle Music, collected 33 tracks including rarities and non-album cuts, helping preserve the band's catalog amid a burgeoning early-2000s revival that saw renewed interest in bootlegs and archival material from acts like My Bloody Valentine. This sustained fan engagement through underground trading and festival nods, though no new Swervedriver activity emerged until 2007.

Reunion and initial tours (2008–2013)

In October 2007, Swervedriver announced their reunion after a decade-long hiatus, citing inspiration from My Bloody Valentine's recent return to the stage and a growing interest in the genre as key factors prompting the core duo of Adam Franklin and Jimmy Hartridge to reform the band for live performances. The reunion lineup featured Franklin on vocals and guitar, Hartridge on guitar, bassist Steve George, and drummer Jez Hindmarsh, mirroring the configuration from the band's mid-1990s albums. This reformation aligned with a broader revival, positioning Swervedriver as pioneers who helped reignite interest in the style through their return to touring. The band's first post-reunion show took place on April 27, 2008, at the Music and Arts Festival in , marking the kickoff of an international tour that emphasized their classic sound. This was followed by a North American headline tour in May and June 2008, including dates across the and , with setlists drawing heavily from their 1993 album and 1991's , such as tracks like "," "Blowin' Cool," and "Rave Down." The performances received positive reception, with audiences and critics noting the band's enduring energy and the timeliness of their return amid renewed appreciation for 1990s . Throughout 2008 and 2009, Swervedriver extended their touring efforts to the and , performing at venues like London's and supporting the reissue of their early albums by Second Motion Records, which included expanded editions of Mezcal Head (2009) and (2008) that further fueled fan engagement and media coverage. These reissues, digitally remastered and featuring bonus tracks, helped sustain momentum by introducing the band's catalog to new listeners during the resurgence. By 2010, the band had participated in major festivals, including in , where their sets continued to highlight high-energy renditions of core material from Mezcal Head and , solidifying their role in reestablishing a dedicated fanbase. The period remained primarily live-focused, with sporadic shows in and additional dates through 2011–2012, as lineup adjustments occurred—drummer Hindmarsh departed in 2010, later replaced by Mikey Jones in 2011, while bassist (formerly of ) joined as a touring fill-in around 2012 when Steve George was absent. This touring phase built substantial goodwill, culminating in the December 2013 release of the single "" on Tym Records—the band's first new recording in 15 years, featuring a krautrock-infused "Dub Wound" on the B-side and guest vocals from Ride's —signaling their intent to move beyond retrospectives without committing to a full album at the time.

Revival albums (2014–2019)

Following their reunion tours, Swervedriver announced plans for new material in early 2014, marking a shift from live performances to studio recording for their first full-length album in 17 years. The band tracked I Wasn't Born to Lose You across sessions at Birdland Studios in Melbourne, Australia, and Konk Studios in London, with engineering by Lindsay Gravina and Rob Long, and mixing by John Catlin. Released on March 3, 2015, via Fire Records in the UK/Europe and Dine Alone Records in North America (with Cobraside handling some US distribution), the album debuted at number 18 on the UK Official Independent Album Breakers Chart. Standout tracks such as the propulsive opener "Autodidact" and the soaring "Deep Wound"—originally issued as a 2013 single—earned acclaim for revitalizing the band's signature blend of shoegaze textures and driving alternative rock propulsion, evoking their 1990s heyday without nostalgia. Pitchfork lauded the record as a confident return that "wisely plays to [their] most formidable strengths," assigning it a 7.8 rating and highlighting its immersive, road-trip energy. To support the release, Swervedriver undertook extensive world tours from to , including headline shows across the , , and , where they performed material from the new album alongside classics like "" and "Rave Down." The stable lineup of vocalist/guitarist Adam Franklin, guitarist Jimmy Hartridge, bassist Steve George, and drummer Mikey Jones provided continuity, allowing the band to refine their live sound amid growing interest in shoegaze's revival. These tours solidified their momentum, leading into further studio work. Building on this resurgence, Swervedriver entered recording for their follow-up in at Make Records Studios and Seaside Studios in , self-producing with engineering by T.J. Doherty and mixing again by John Catlin. Future Ruins arrived on January 25, 2019, through Rock Action Records in the and Dangerbird Records in the , peaking at number 27 on the UK Official Independent Albums Chart. Tracks including the atmospheric title cut "Future Ruins" and the urgent "The New Drive" showcased a more introspective, matured evolution of their sound, incorporating themes of uncertainty while retaining layered guitars and rhythmic drive. The album contributed to the band's critical reappraisal within the ongoing renaissance, with covering its announcement and singles like "Mary Winter," and reviewers noting its bold, forward-looking vitality.

Recent releases and tours (2020–present)

The significantly impacted Swervedriver's live activities in 2020 and 2021, leading to the cancellation of planned North American tours, including a co-headlining run with originally scheduled for spring 2020. During this period, the band shifted focus to releasing archival material, such as the Petroleum Spirit Daze EP in July 2020, which featured the previously unreleased original recording of their debut Son of Mustang Ford EP. While specific virtual performances were limited, the group maintained fan engagement through online streams of older live footage and digital reissues. In January 2025, Swervedriver announced The EP, their first new music since the 2019 album Future Ruins, set for release on March 7 via Outer Battery Records. The four-track EP includes "Pack Yr Vision," "Volume Control," "The ," and "Time Attacks," with two songs recorded in alongside of Ride and the other two captured in with producer , mixed by John Catlin. Critics praised the release for its expansive, psychedelic guitar textures; Maximum Volume Music highlighted the "shimmering guitar riffs" and "glistening chord riffs" that evoke a dreamlike quality across tracks like "Pack Yr Vision" and "Time Attacks," while mxdwn noted the "psychedelic maelstrom of guitars" balancing wonder and unease in "The ." Supporting the EP, Swervedriver embarked on an active 2025 touring schedule, including U.S. dates in April and May—such as shows at King's in Raleigh on April 21 and Black Cat in Washington, D.C., on April 22—followed by a fall run featuring the Levitation Festival in Austin on September 27 and additional stops in San Francisco, Seattle, and Chicago through early October. European dates complemented the itinerary, with performances in the UK and continental Europe during the summer, aligning with the shoegaze resurgence. In interviews, frontman Adam Franklin embraced the band's status as "OG shoegazers," reflecting on their enduring influence amid renewed genre interest. Following the EP's release, the band completed spring 2025 US dates and prepared for fall tours, with no new full album announced as of November 2025. As of November 2025, Swervedriver remains active with ongoing U.S. tour commitments and hints from Franklin of potential material for a full-length , building on the momentum from The World's Fair EP.

Artistry

Musical style

Swervedriver's music is characterized by core elements, including heavy use of reverb, distortion, and layered guitars that produce a thick "." This immersive texture, driven by muscular and interlocking guitar riffs, creates dense, bending sonic landscapes where instruments dominate the mix. The band's sound evolved from the noise rock intensity of their early EPs, featuring scorching distortion and grungy crunch, to a more melodic approach on albums like . This progression incorporated dynamic quiet-loud structures, with tense builds erupting into hyperspace-like launches, balancing raw power with tuneful melodies woven through the guitar layers. Signature features include Adam Franklin's murmured, dreamily languorous vocals, often secondary to the instrumentation and delivered in a yet tuneful style. The dual guitar interplay between Franklin and Jimmy Hartridge forms a magical, melodic synergy, enhanced by effects pedals for warped, panoramic tones, while driving rhythms—chunky and hard-edged, drawing from metal influences—provide propulsive energy. In their revival albums, Swervedriver's style matured with greater incorporation of and accessible pop hooks, resulting in a less hazy sound than traditional while retaining ambient textures and moody, heavy melodic elements. This evolution distinguishes them from contemporaries like My Bloody Valentine through a tougher, more direct approach infused with road-trip thematic energy and visceral propulsion.

Influences and legacy

Swervedriver's sound drew heavily from early post-punk acts like Joy Division, which informed their rhythmic drive and atmospheric tension. Noise rock pioneers such as Sonic Youth, Dinosaur Jr., and Hüsker Dü shaped their aggressive guitar textures and dynamic structures, while emerging shoegaze contemporaries including My Bloody Valentine and Slowdive contributed to the layered, ethereal elements in their early work. British rock influences like T. Rex, Black Sabbath, and The Kinks added a glam and riff-heavy edge, distinguishing the band from purer dream-pop shoegazers. The band's signing to in 1996 marked a pivotal moment in exporting the shoegaze scene to American audiences, building on their earlier A&M deal and extensive U.S. touring that positioned them alongside grunge acts like and . This major-label push, though fraught with release delays, helped bridge the transatlantic gap in the , introducing 's wall-of-sound aesthetics to broader rock listeners beyond the 's insular scene. In the 2000s and shoegaze revival, Swervedriver's influence resonated with a new generation, as evidenced by their citation as a key inspiration for modern acts like , whose frontman has praised the band's intense volume and sonic intensity. Bands such as , sharing festival bills with Swervedriver at events like Nothing's Slide Away, echo their blend of heavy distortion and melody in the renewed wave of U.S.-centric . Their 2008 reunion, predating those of peers like and Ride, capitalized on nostalgia-driven interest, amplifying the genre's resurgence through reissues and tours. Swervedriver's lyrics often explore themes of escape and perpetual motion, inspired by comic books like Love and Rockets, which infused their work with motifs of wanderlust and road-bound freedom, as seen in tracks evoking cars, highways, and fleeting journeys. This narrative thread has contributed to their enduring appeal in shoegaze's introspective tradition. Lacking major awards, Swervedriver maintain cult status through ongoing reissues, such as the 2024 remastered edition of 99th Dream, and consistent festival appearances that keep their catalog alive for dedicated fans. Their 2025 EP The World's Fair continues this legacy, blending their classic propulsion with fresh collaborations, further solidifying their role in shoegaze's ongoing revival. In 2025 interviews, frontman Adam Franklin has embraced their positioning as "OG shoegazers," reflecting the band's foundational role amid the genre's continued revival.

Band members

Current members

The current lineup of Swervedriver, as of 2025, features Adam Franklin on vocals and guitar, Jimmy Hartridge on guitar, Mikey Jones on drums, and on bass. Founding members Adam Franklin and Jimmy Hartridge established the band in , , in 1989. Franklin, the primary songwriter, performs vocals alongside rhythm and . Hartridge contributes , central to the band's dual-guitar interplay. Mick Quinn joined for touring in 2015 after Steve George was unable to continue, becoming a permanent member around 2018, and drawing from his prior role in to bolster the rhythm section's consistency. Mikey Jones became the drummer in 2011, remaining a steady presence through recordings and live performances into 2025.

Former members

Adrian "Adi" Vines served as the bassist for Swervedriver from 1989 to 1992, contributing to the band's early singles and debut album Raise. After leaving the group to join the band Skyscraper, Vines transitioned into guitar technology and session work, supporting various artists in live and recording capacities. Graham Bonnar was the original drummer for Swervedriver, playing from 1989 until 1992 and appearing on the debut album . He briefly rejoined from 2010 to 2011. Following his departures, Bonnar continued his music career with bands including Creeper Lagoon and , where he contributed to the album , and later with . Jez Hindmarsh joined Swervedriver as in 1993, remaining until the band's initial breakup in 1998, and played on albums , Ejector Seat Reservation, and 99th Dream. He briefly rejoined for the 2008 reunion tours before departing again in 2010. Post-Swervedriver, Hindmarsh pursued a career in . Steve George took over as bassist in 1994, playing through the band's 1998 dissolution and contributing to the albums Ejector Seat Reservation and 99th Dream. He participated in early reunion tours starting in 2008. Afterward, George involved himself in indie projects, including the bands The Passengers and Unwind.

Timeline

PeriodVocals & Rhythm GuitarLead GuitarBassDrumsNotes
1989–1992Adam FranklinJimmy HartridgeAdi VinesGraham BonnarFormation and early releases, including Raise (1991). [web:3] [web:42]
1992Adam FranklinJimmy HartridgeAdi VinesDan DavisInterim drummer after Bonnar's departure. [web:168]
1992Adam FranklinJimmy HartridgeAdi VinesDanny IngramFurther interim period. [web:165] [web:168]
Late 1992Adam FranklinJimmy Hartridge(Vines departs)(Flux continues)Rhythm section changes post-tour. [web:53]
1993–1998Adam FranklinJimmy HartridgeSteve GeorgeJez HindmarshClassic lineup for Mezcal Head (1993), Suzerain (1994), and 99th Dream (1998). [web:1] [web:53]
1998–2008InactiveInactiveInactiveInactiveHiatus.
2008–2010Adam FranklinJimmy HartridgeSteve GeorgeJez HindmarshReunion tours. [web:86] [web:89]
2010–2011Adam FranklinJimmy HartridgeSteve GeorgeGraham BonnarBonnar returns after Hindmarsh leaves. [web:100]
2011–2015Adam FranklinJimmy HartridgeSteve GeorgeMikey JonesJones joins on drums. [web:78]
2015–2016 (touring)Adam FranklinJimmy HartridgeMick QuinnMikey JonesQuinn joins for touring. [web:157]
2016–presentAdam FranklinJimmy HartridgeMick QuinnMikey JonesCurrent lineup, including I Wasn't Born to Lose You (2015), Future Ruins (2019), and recent releases. [web:157] [web:159]

Discography

Studio albums

Swervedriver has released six studio albums to date. The band's early work was issued on in the , while later releases appeared on independent labels.
AlbumRelease yearLabelPeak UK chart position
1991#44
1993#55
Ejector Seat Reservation1995Did not chart
99th Dream1998Sonic WaveDid not chart
I Wasn't Born to Lose You2015Cherry Red#18 (Independent Album Breakers)
Future Ruins2019Rock Action Records#27 (Independent Albums)

Extended plays

Swervedriver's extended plays consist of non-album releases that showcased the band's evolving and sound during their early career and recent resurgence. These EPs featured original tracks not included on full-length albums, highlighting experimental production and dynamic guitar work. Swervedriver's debut EP, Son of Mustang Ford, was released in July 1990 on in the UK. Produced by the band with Chris Allison, it included the title track "Son of Mustang Ford," "Deep Wound," "Freelove Baby," and "Big Sky," establishing their signature blend of dreamy guitars and driving energy. The band's second EP, Rave Down, was released in November 1990 on in the UK. Self-produced with Anjali Dutt, it included the title track "Rave Down," along with "She's Beside Herself," "," and "Zedhead," blending hazy atmospheres with driving rhythms that foreshadowed their debut Raise. In 1991, Swervedriver issued Sandblasted on , a self-produced effort capturing their raw energy. Key tracks included the explosive "Sandblasted," "Flawed," "Out," and the extended "Laze It Up," emphasizing layered guitars and introspective lyrics distinct from their subsequent album material. Never Lose That Feeling, released in May 1992 on (with a US edition via Geffen), marked a pivotal non-album release produced by the band and . It featured the dual-sided "Never Lose That Feeling/Never Learn," plus "Scrawl and Scream" and "Hands," delivering euphoric builds and emotional depth that solidified their credentials. Marking their return after a hiatus, The EP arrived on March 7, 2025, via Outer Battery Records. Recorded partly with Ride's and producer , it comprises "Pack Yr Vision," "Volume Control," "The ," and "Time Attacks," fusing psychedelic elements with the band's signature lush sonics for fresh, vital non-album content.

Other releases

In August 2024, Swervedriver released Doremi Faso Latido via Outer Battery Records, a collection of demos and outtakes from the 99th Dream era, originally included as a bonus disc in the album's reissue. The standalone release features tracks like "Butterfly" and " Baby," providing insight into the band's late-1990s creative process.

Singles

Swervedriver's singles output spans their career, featuring tracks often released on 7-inch, 12-inch vinyl, CD, and digital formats. These releases typically included B-sides with experimental or live elements, showcasing the band's and influences. Notable singles include early UK-centric efforts on transitioning to US distributions via Geffen, and later independent releases. The band's debut single-era output began with "Rave Down" in 1990 on , available as a 12-inch vinyl EP with additional tracks "She's Beside Herself," "Afterglow," and "Zedhead." This was followed by "Son of Ford" in 1991, released as a promotional 12-inch vinyl single on in the , highlighting their growing international presence. In 1993, Swervedriver issued "Duel" on (UK Creation), a CD and vinyl single featuring B-sides "Planes All Over the Skyline" and "Year of the Girl." The same year saw the double A-side "For Seeking Heat / Blowin' Cool" on , limited to 12-inch vinyl format. "Last Train to Satansville" appeared in 1994 on /A&M, issued as a and EP with remixes and additional recordings produced by . After a hiatus, the band returned with "99th Dream" in 1998, a promotional on Zero Hour/, serving as the title track precursor to their album. In 2015, "Autodidact" was released as a digital from the album I Wasn't Born to Lose You, noted for its swirling guitar layers and lyrical introspection. Most recently, "Volume Control" was issued in January 2025 via Outer Battery Records as a digital single from the forthcoming EP The World's Fair, featuring roaring guitars and the band's signature propulsion.

References

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  27. https://tapeop.com/interviews/66/adam-franklin
  28. https://www.allmusic.com/album/ejector-seat-reservation-mw0000460253
  29. https://www.vice.com/en/article/rank-your-records-adam-franklin-plays-favorites-with-swervedrivers-five-full-lengths/
  30. https://www.sputnikmusic.com/review/51188/Swervedriver-Ejector-Seat-Reservation/
  31. https://www.discogs.com/release/1320014-Swervedriver-99th-Dream
  32. https://www.allmusic.com/album/99th-dream-mw0000020895
  33. https://pitchfork.com/reviews/albums/swervedriver-99th-dream/
  34. https://www.concertarchives.org/bands/swervedriver
  35. https://www.setlist.fm/stats/concert-map/swervedriver-1bd6b1d8.html?year=1998
  36. https://www.popmatters.com/juggernaut-still-rides-behind-the-scenes-and-times-of-swervedriver-2496153729.html
  37. https://www.allmusic.com/artist/toshack-highway-mn0000149539
  38. https://www.discogs.com/artist/753093-Toshack-Highway
  39. https://pitchfork.com/reviews/albums/7667-juggernaut-rides/
  40. https://exclaim.ca/music/article/swervedriver_reunite
  41. https://www.wired.com/2008/05/swervedriver-ki/
  42. https://www.premierguitar.com/artists/swervedriver-shoegazers-ride-again
  43. https://www.hollywoodreporter.com/business/business-news/swervedriver-coming-together-coachella-109497/
  44. https://www.punknews.org/article/28555/tours-swervedriver
  45. https://www.brooklynvegan.com/swervedriver-wa/
  46. https://www.treblezine.com/swervedriver-mezcal-head-extended-version-review/
  47. https://www.agitreader.com/perfect/swervedriver.html
  48. https://www.psychedelicbabymag.com/2019/11/swervedriver-interview-with-adam-franklin.html
  49. https://pitchfork.com/news/53276-listen-swervedrivers-first-new-single-in-15-years-deep-wound/
  50. https://consequence.net/2013/12/listen-swervedrivers-first-new-single-in-15-years-deep-wound/
  51. https://www.nme.com/news/music/swervedriver-1221281
  52. https://echoesanddust.com/2015/03/swervedriver-i-wasnt-born-to-lose-you/
  53. https://www.officialcharts.com/albums/swervedriver-i-wasnt-born-to-lose-you/
  54. https://pitchfork.com/reviews/albums/20178-i-wasnt-born-to-lose-you/
  55. https://www.nme.com/news/music/swervedriver-new-album-future-ruins-new-single-mary-winter-2393658
  56. https://www.discogs.com/release/13092267-Swervedriver-Future-Ruins
  57. https://www.officialcharts.com/charts/independent-albums-chart/20190201/131/
  58. https://www.loudersound.com/features/swervedrivers-track-by-track-guide-to-new-album-future-ruins
  59. https://www.brooklynvegan.com/swervedriver-failure-announce-co-headlining-tour/
  60. https://swervedriver.bandcamp.com/album/petroleum-spirit-daze
  61. https://www.brooklynvegan.com/swervedriver-announce-first-record-in-five-years-hear-volume-control/
  62. https://maximumvolumemusic.com/review-swervedriver-the-worlds-fair-ep-2025/
  63. https://shelteredlifepr.com/2025/02/12/legendary-rockers-swervedriver-to-release-new-ep-stream-volume-control-now-with-brooklyn-vegan/
  64. https://music.mxdwn.com/2025/07/21/features/mxdwn-interview-adam-franklin-discusses-swervedrivers-return-with-the-worlds-fair-ep-collaborations-and-the-resurgence-of-shoegaze/
  65. https://swervedriver.bandcamp.com/
  66. https://www.allmusic.com/artist/swervedriver-mn0000048594
  67. https://www.vice.com/en/article/swervedriver-interview-2015/
  68. https://music.apple.com/us/artist/swervedriver/388347
  69. https://music.mxdwn.com/2019/01/28/reviews/swervedriver-future-ruins/
  70. https://echoesanddust.com/2024/02/adam-franklin-from-swervedriver/
  71. https://www.vice.com/en/article/interview-about-nothing-philly-shoegaze-band/
  72. https://substrateradio.com/whirr-pains-of-being-pure-at-heart-swervedriver-more-playing-nothings-slide-away-fests/
  73. https://daily.bandcamp.com/lists/modern-shoegaze-bands-list
  74. https://swervedriver.bandcamp.com/album/99th-dream-2
  75. https://idioteq.com/swervedriver-shares-new-music-video-ahead-of-the-release-of-their-ep/
  76. http://drownedinsound.com/in_depth/4136666-shoegaze-week--swervedrivers-adam-franklin-dissects-the-notion-of-shoegaze
  77. https://www.discogs.com/artist/1330512-Adi-Vines
  78. https://peel.fandom.com/wiki/Skyscraper
  79. https://www.discogs.com/artist/1367240-Graham-Bonnar
  80. http://davecrimaldi.weebly.com/rock-philosopher/an-interview-with-graham-bonnar-swervedriver-brian-jonestown-massacre
  81. https://tonedeaf.thebrag.com/swervedriver/
  82. https://www.mixcloud.com/perrypelonero/jez-hindmarshswervedriverlawyerauthor/
  83. https://www.discogs.com/artist/736001-Steve-George-2
  84. https://therevue.ca/2015/05/01/swervedriver-let-the-notes-hang/
  85. https://www.atpfestival.com/artist/swervedriver
  86. https://www.officialcharts.com/albums/swervedriver-raise/
  87. https://www.allmusic.com/album/raise-mw0000196299
  88. https://www.officialcharts.com/albums/swervedriver-mezcal-head/
  89. https://www.allmusic.com/album/99th-dream-mw0000595080
  90. https://www.officialcharts.com/charts/independent-albums-breakers-chart/20150308/255/
  91. https://www.allmusic.com/album/i-wasnt-born-to-lose-you-mw0002789586
  92. https://www.discogs.com/master/804691-Swervedriver-I-Wasnt-Born-To-Lose-You
  93. https://www.allmusic.com/album/future-ruins-mw0003185185
  94. https://www.discogs.com/master/1490612-Swervedriver-Future-Ruins
  95. https://www.discogs.com/master/21641-Swervedriver-Son-Of-Mustang-Ford
  96. https://www.discogs.com/master/92338-Swervedriver-Sandblasted
  97. https://www.discogs.com/master/92339-Swervedriver-Never-Lose-That-Feeling
  98. https://www.discogs.com/release/2773742-Swervedriver-Son-Of-Mustang-Ford
  99. https://www.discogs.com/release/1603131-Swervedriver-Duel
  100. https://rateyourmusic.com/release/single/swervedriver/for-seeking-heat-blowin-cool/
  101. https://www.discogs.com/master/92343-Swervedriver-Last-Train-To-Satansville
  102. https://www.discogs.com/release/10283204-Swervedriver-99th-Dream
  103. https://www.spin.com/2015/02/swervedriver-autodidact-stream/
  104. https://www.stereogum.com/2292947/swervedriver-volume-control/music/
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