Jump to content

Swervedriver

From Alfawiki
Swervedriver
Company typeBand
IndustryMusic
FoundedJanuary 1, 1989; 37 years ago (1989-01-01) in Oxford, England
FounderAdam Franklin, Jimmy Hartridge
Headquarters
Oxford
,
England
ProductsStudio albums, EPs, singles

Swervedriver is a British alternative rock ensemble established in Oxford in 1989 by founding members Adam Franklin and Jimmy Hartridge. From 1989 through 1998, the band issued four studio albums alongside multiple EPs and singles, navigating frequent shifts in personnel, management, and record labels. By 1993, their lineup solidified with Franklin on vocals and guitar, Hartridge on guitar, Jez Hindmarsh handling drums, and Steve George on bass. Their sound distinguished itself from contemporaneous shoegaze bands by adopting a heavier rock style that progressively integrated influences from psychedelia, classic pop, and indie rock over a five-year span.

Difficulties with record companies and waning enthusiasm within the group led to their dissolution in 1998. After a ten-year hiatus, Swervedriver reassembled, embarking on intermittent tours and releasing fresh material beginning with the 2013 single "Deep Wound." Subsequently, they have released two albums: I Wasn't Born to Lose You (2015) and Future Ruins (2019). Drummer Mikey Jones and bassist Mick Quinn, initially touring substitutes, eventually became full-time members.

Formative period (1984–1989)

Swervedriver’s origins trace back to Oxford where school friends Franklin and Hartridge, joined by Franklin's brother Graham (vocals) and drummer Paddy Pulzer, formed the band Shake Appeal in 1984. Bassist Adrian "Adi" Vines was added in 1987, culminating in the release of their single "Gimme Fever" in 1988. Drawing inspiration from late 1960s garage rock acts such as The Stooges and MC5, their focus shifted toward American alternative rock groups like Hüsker Dü, Sonic Youth, and Dinosaur Jr., aiming to push electric guitar boundaries within a pop-oriented context.

Following Shake Appeal’s breakup in 1989, Adam Franklin penned tracks including "Volcano Trash," "Afterglow," and "Son of Mustang Ford," which became Swervedriver’s inaugural single. They recorded a demo in Oxford with Franklin assuming lead vocals after Graham departed to pursue other ventures. Relocating to London, they enlisted drummer Graham Bonnar from Edinburgh’s post-punk scene. The demo reached Creation Records founder Alan McGee through Mark Gardener of Ride, resulting in an immediate contract and the establishment of Swervedriver.

Initial EPs, Raise, and lineup changes (1990–1992)

Rather than debuting with a full album, Swervedriver followed an early 1990s trend by releasing a series of four-track EPs. Their first EP, Son of Mustang Ford, came out on 16 July 1990; it was recorded at The Greenhouse & Falconer Studios in London with the band self-producing. This release featured "Kill the Superheroes," an early example of Franklin’s use of alternate guitar tunings. Franklin cited inspiration from Fear and Loathing in Las Vegas, evoking imagery of driving across American landscapes. Critics described the EP as "a chromium-plated piece of automobile romanticism." Promotion included a John Peel session on BBC Radio 1 on 31 July 1990 where they performed tracks from their initial EPs plus the unreleased "Over." The follow-up EP, Rave Down, was issued in November; its title track received acclaim for its powerful riffing. Both EPs charted on UK indie and metal charts, though mainstream British media soon favored more traditional shoegaze acts.

In early 1991, Swervedriver secured a deal with A&M Records in the United States and toured there supporting Ned's Atomic Dustbin. Their third EP, Sandblasted, released on 22 July 1991, peaked at number 67 on the UK Singles Chart and was described as "a head-on collision between guitars raging for chaos."

Their debut album Raise arrived on 30 September 1991. Like their EPs, it was self-produced at the same studios and incorporated the title tracks from all three preceding EPs. Franklin explained that their recurring automotive themes were rooted in rock ’n’ roll traditions. The album received critical praise and reached number 44 on the UK Albums Chart. Following its release, the band toured extensively across the UK, including a second BBC Radio 1 session in November. Producer Alan Moulder—known for his work with Creation labelmates—collaborated with Swervedriver on the Never Lose That Feeling EP released in May 1992; this featured tracks such as "The Watchmakers Hands" and a reimagined "Afterglow," highlighting refined production values and melodic growth.

Swervedriver then headlined a North American tour supported by Poster Children. In February 1992, bassist Bonnar unexpectedly exited mid-tour citing creative disagreements. Dan Davis and Danny Ingram stepped in to complete remaining dates. The band supported labelmates Monster Magnet and Soundgarden during an April tour before traveling to Japan ahead of releasing Never Lose That Feeling, their last release featuring the original lineup; it reached number 62 on UK charts. A&M Records issued a tour documentary video featuring live performances and music videos in May 1992.

However, momentum faltered after losing manager and founding member Vines in August 1992 when he left to form heavy metal act Skyscraper. Vines had been regarded as integral to Swervedriver’s identity, leading to doubts about the band's future viability.

Mezcal Head and lineup changes (1993–1994)

By 1993, Swervedriver had been pared down to Franklin, Jimmy Hartridge, and an array of effects pedals, though producer Alan Moulder anticipated the creation of a full album. Franklin and Hartridge initiated fresh recording sessions at EMI's London demo studio, collaborating with producer Marc Waterman. Waterman introduced them to Jeremy "Jez" Hindmarsh, previously the drummer for 5:30. Hindmarsh volunteered his drumming talents and brought 16-track studio gear, joining the band as their new drummer. The recording process took place at Camden’s Playground rehearsal spaces and Trident 2 studios in Westminster. During this period, Franklin and Hartridge alternated on bass until they encountered Steve George, an Essex native who approached Franklin in Camden and subsequently became the band's bassist.

Swervedriver released their sophomore album, Mezcal Head, on 12 August 1993, co-produced by Moulder and the group. Both Franklin and Hartridge acknowledged Moulder's role in refining the album’s sonic quality. The record entered the UK charts at number 55 and was met with critical praise—NME highlighted its potent songwriting and polished execution. Subsequent critiques recognized its fusion of shoegaze, grunge, and American indie rock elements, labeling it a hidden gem within the shoegaze genre. The lead single "Duel" garnered "Single of the Week" accolades from both NME and Melody Maker, peaking at number 60 on UK charts—the band's highest chart position. Two music videos accompanied the release: one a self-produced snowboarding video filmed at Mount Hood, and another high-budget MTV production set in Los Angeles featuring bassist George. The band embarked on a UK tour before heading to North America in late 1993 alongside Shudder to Think and the Smashing Pumpkins, broadening their US audience.

In early 1994, the second single from the album, "Last Train to Satansville," was issued. Critics lauded Hindmarsh’s more aggressive drumming style and Franklin’s storytelling approach, describing it as embodying "alt-rock swagger" with a commanding guitar riff and an ominous spaghetti western atmosphere. Both singles were included in the 3DO video game Road Rash. Swervedriver continued touring across Europe, Australia, and Japan, sharing stages with fellow Creation Records artists Medicine. Later that year, they released their first single featuring Steve George on bass: an exclusive 8-track limited edition titled "My Zephyr," issued through the boutique label The Flower Shop.

Ejector Seat Reservation and label difficulties (1995)

Swervedriver’s third studio effort, Ejector Seat Reservation, was primarily recorded at Church Studios and Konk Studios in North London. The production was handled jointly by the band and Alan Moulder. The album explored themes of fatalism and escape, deliberately incorporating British lyrical references to contrast their previously American-influenced work, as explained by Franklin. There was disagreement with McGee over which track should lead as a single; while the band favored "The Other Jesus," McGee opted for "Last Day on Earth" to align with Britpop trends favoring strings and acoustic instrumentation. Early promotional copies containing "It's All Happening Now" were withdrawn after permission to use lyrics from Bob Dylan's "It's All Over Now, Baby Blue" was refused; these copies were later distributed exclusively to fan club members.

Facing financial constraints after American label A&M withdrew funding—which delayed the album’s release by approximately eighteen months—the band sought to terminate their contract. Without A&M’s licensing support (estimated around US$350,000 per album), Creation Records released Ejector Seat Reservation domestically on 15 July 1995 but dropped Swervedriver just a week later. The album received scant promotional effort and was never launched in North America.

While receiving modest attention in mainland Europe—particularly in France and Germany—and supported by Sony Music during an Australian tour invitation later that year, Ejector Seat Reservation became Swervedriver’s lowest-selling record. Despite limited commercial impact, critics often regard it as the band’s most accomplished work. Andy Kellman from AllMusic described it as their "most focused and succinct album," best appreciated when listened to in its entirety. Magnet hailed it as a "towering artistic achievement" deserving wider acknowledgment. With Steve George contributing deep bass lines, songs such as "The Birds," "How Does It Feel to Look Like Candy?," and "Last Day on Earth" demonstrated Swervedriver’s evolution beyond their heavier origins toward influences including Elvis Costello, Burt Bacharach, and T. Rex.

99th Dream and dissolution (1996–1998)

In early 1996, Swervedriver secured a contract for three albums with DGC Records, a subsidiary of Geffen. Initially, the plan was to release an American version of Ejector Seat Reservation, but negotiations with A&M collapsed over pricing disputes. Consequently, the band invested their advance in establishing their own studio, Bad Earth, located in Farringdon, where they commenced work on a fresh album.[1] Over the following year, they collaborated with producer Alan Moulder to create 99th Dream, adopting a more relaxed and straightforward style. The recording process shifted from 48-track to 24-track technology, minimizing guitar overdubs and focusing on live group performances to better translate to stage shows.[2][3] During this timeframe, Swervedriver issued limited-edition seven-inch singles, including a split release titled "Why Say Yeah" alongside indie band Sophia.[4] Promotional copies were distributed by DGC, targeting a release date of 7 May 1997.[1] In December 1996, the band re-recorded "These Times," expressing dissatisfaction with the original's brisk tempo reminiscent of Oasis and complications with label representatives.Cite error: The opening <ref> tag is malformed or has a bad name

Approximately three and a half weeks before the album's scheduled launch, DGC underwent corporate restructuring that resulted in the dismissal of their A&R contact and the termination of Swervedriver’s contract. Despite this setback, the label did not prevent the album’s eventual distribution.[1][5][6] Hindmarsh commented on the difficulty: "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."[6]

Committed to releasing the record, Swervedriver turned down offers from two major labels and instead partnered with independent Zero Hour Records based in New York.[2] 99th Dream officially became available on 24 February 1998. Additionally, the band inaugurated their own imprint, Sonic Wave Discs (SWD), which handled the UK release on 10 August.[1][7] Franklin described the shift toward indie rock as unplanned: "Just concise little pop songs, bossa nova beats... all about time," reflecting a more intuitive lyrical direction.Cite error: The opening <ref> tag is malformed or has a bad name Hindmarsh noted a change in style emphasizing open arrangements: "'She Weaves a Tender Trap' is like a one-take, all-four-of-us thing... leaving space to let the music breathe."[2]

Critical response was varied, often highlighting the move away from dense, layered production toward an acoustic-oriented sound that some listeners found uneven.[8][5][2] Andy Kellman from AllMusic described it as "the weakest of Swervedriver's four '90s albums" while still recognizing its appeal.[9] Tom Sinclair at Entertainment Weekly acknowledged its "singular intensity" despite lacking the band's earlier sonic heft.Cite error: The opening <ref> tag is malformed or has a bad name Fans appreciated its balanced fusion of Britpop and rock elements without grandiose expectations.Cite error: The opening <ref> tag is malformed or has a bad name Conversely, NME dismissed it as "lazy-eyed melody swoons" over familiar motifs,Cite error: The opening <ref> tag is malformed or has a bad name and Drop-D Magazine criticized its slow tempo as detrimental.Cite error: The opening <ref> tag is malformed or has a bad name

Swervedriver embarked on an extensive tour supporting 99th Dream, opening for Hum in New York during February 1998,[7] followed by North American dates with bands such as Sianspheric,[5] The Dandy Warhols, and Beck.[10] A UK tour took place in July. Internal conversations about their enjoyment led them to plan a hiatus once obligations were completed; Franklin later reflected that it felt like a conclusion.[11] They finished a Northeast US club circuit and supported Powderfinger on an Australian tour ending in December 1998.[11][7]

That same year featured releases through their own label: the EP Space Travel, Rock 'n' Roll (February 1998), marking Hindmarsh’s initial use of looping techniques,[4][10] and the single "Wrong Treats" (July 1998), which included an instrumental track recorded during a Sydney soundcheck alongside a cover of T. Rex. These constituted their final outputs before entering hiatus.[4]

Hiatus and individual projects (1999–2007)

Exhausted by constant touring and disenchanted with the drug culture surrounding their studio, the group contemplated selling Bad Earth Studio to Ash before their lease ended. Ultimately, they shut down the studio and vacated the premises, making an extended break from band activities unavoidable. Franklin embarked on a solo path, initially joining the experimental electronic pop/folk ensemble Toshack Highway, then progressing to guitar-centric solo work under the name Adam Franklin & Bolts of Melody. Hartridge launched a distribution enterprise, while Hindmarsh concentrated on managing bands through Badearth management, representing artists such as the Scottish rock outfit Terra Diablo.

In early 2005, Swervedriver partnered with Castle Music to release Juggernaut Rides '89–'98, a two-disc compilation that came out on 14 March 2005. This collection included 33 remastered tracks with nearly half being non-album selections, featuring four previously unreleased recordings like the demo of "Son of Mustang Ford" and late-1990s tracks "Just Sometimes" and "Neon Lights Glow." Franklin commended the remastering quality and praised the non-linear sequencing of songs, which garnered favorable critiques emphasizing the band’s complexity beyond standard alternative rock groups.

On 24 November 2006, Hindmarsh published Rider, a memoir recounting Swervedriver’s touring experiences between 1992 and 1998. Concurrently, Franklin formed an indie rock project called Magnetic Morning alongside Sam Fogarino, drummer for Interpol. Initially doubtful about reuniting due to personal obligations, Franklin’s perspective shifted by mid-2007, influenced by successful band reunions such as that of the Pixies.

By October 2007, Franklin and Hartridge resumed conversations that culminated in an official statement on 19 October announcing Swervedriver’s reunion for a worldwide tour set for 2008. Hindmarsh echoed this excitement on the band’s online forum. Franklin clarified in November that while new studio work was secondary to his solo and Magnetic Morning efforts, the reunion was motivated by renewed enthusiasm for live performances of songs like "Sandblasted," sustaining the band’s legacy through active fan support.

Reunion tour and subsequent endeavors (2008–2013)

Swervedriver relaunched their reunion tour on 27 April 2008 at the Coachella Valley Music and Arts Festival held in Indio, California, followed by a two-month North American tour. Their UK appearances included shows at London’s Scala and Glasgow’s King Tut's Wah Wah Hut on 16 and 18 September 2008 respectively. Riding this wave of renewed interest, remastered versions of Raise, Mezcal Head, and Ejector Seat Reservation were reissued in the UK by Sony BMG on 13 October 2008, featuring bonus material and expanded liner notes contributed by Franklin and Hartridge. The US market saw releases of Raise and Mezcal Head through Second Motion Records/Hi-Speed Soul on 20 January 2009.

Starting in late 2009, Swervedriver undertook short tours interspersed with Franklin’s solo engagements. This included a UK stint culminating in a three-day appearance at the All Tomorrow's Parties festival in December 2009, sharing billing with acts like My Bloody Valentine and Sonic Youth. In November 2010, original drummer Bonnar rejoined for performances across Scandinavia before a four-date Australian tour in February 2011 that featured participation in the Perth International Arts Festival. Mid-2011 saw shows in prominent US cities plus Toronto with Mikey Jones stepping in on drums.

Ahead of a US tour scheduled for early 2012, Swervedriver made a television appearance on Late Night with Jimmy Fallon on 26 March performing "Son of Mustang Ford" alongside debuting "Deep Wound," their first new composition in fourteen years, recorded with engineer Albert Di Fiore. The ensuing two-week tour included Jones on drums and featured a four-song live session for Seattle-based station KEXP.

In June 2013, the band revealed plans for a five-date Australian tour spanning late September to early October where they would perform Raise in its entirety along with selected additional tracks. They re-recorded "Deep Wound" ahead of its release via Tym Records scheduled for 26 September 2013 to coincide with the tour dates. Limited-edition colored seven-inch vinyl singles were made available for pre-order and sold during live shows.

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

Following their "Raise" mini-tour, Swervedriver commenced work on a new album at Birdland Studios in Melbourne, later continuing the sessions at Konk Studios into early 2014. They briefly halted recording to perform a special one-off "Raise" concert at The Garage in London on 4 April 2014. On 7 January 2015, the band revealed their album I Wasn't Born to Lose You, which was officially released on 3 March 2015 through Cobraside. The first single from the album, "Setting Sun," was unveiled on 13 January 2015. When bassist Steve George was unable to participate in several US shows during March 2015, Mick Quinn of Supergrass stepped in as his replacement and by 2018 had become a full-time member, contributing to their 2019 release, Future Ruins.

Musical style

Swervedriver's music is often categorized within the shoegaze genre,[12][13][14] alongside elements of alternative rock,[12][15] dream pop,[16] and grunge.[14]

Band members

Current lineup

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

Previous members

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

Discography

External links

  1. ↑ 1.0 1.1 1.2 1.3 Cite error: Invalid <ref> tag; no text was provided for refs named .Netbio
  2. ↑ 2.0 2.1 2.2 2.3 Cite error: Invalid <ref> tag; no text was provided for refs named MSmag
  3. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named L.A.Rec
  4. ↑ 4.0 4.1 4.2 Cite error: Invalid <ref> tag; no text was provided for refs named Discogs
  5. ↑ 5.0 5.1 5.2 Cite error: Invalid <ref> tag; no text was provided for refs named DJint
  6. ↑ 6.0 6.1 Cite error: Invalid <ref> tag; no text was provided for refs named PP
  7. ↑ 7.0 7.1 7.2 Cite error: Invalid <ref> tag; no text was provided for refs named .ComNA
  8. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named JRcomp
  9. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named AM99D
  10. ↑ 10.0 10.1 Cite error: Invalid <ref> tag; no text was provided for refs named PBint
  11. ↑ 11.0 11.1 Cite error: Invalid <ref> tag; no text was provided for refs named Vine
  12. ↑ 12.0 12.1 Cite error: Invalid <ref> tag; no text was provided for refs named kexp
  13. ↑ Lua error in Module:Citation/CS1/Configuration at line 2123: attempt to index field '?' (a nil value).
  14. ↑ 14.0 14.1 Lua error in Module:Citation/CS1/Configuration at line 2123: attempt to index field '?' (a nil value).
  15. ↑ Lua error in Module:Citation/CS1/Configuration at line 2123: attempt to index field '?' (a nil value).
  16. ↑ Lua error in Module:Citation/CS1/Configuration at line 2123: attempt to index field '?' (a nil value).
Retrieved from "https://www.alfawiki.org/index.php?title=Swervedriver&oldid=82732"