Swervedriver: A Beginner’s Guide
The shoegaze legends are often unfairly overlooked - perhaps because they're not really a shoegaze band
Welcome to another instalment of A Beginner’s Guide, the (hopefully) self-explanatory series in which I take a cult artist with a lengthy and/or complicated discography, and condense their entire career into one humble playlist. This month, it’s the turn of Oxford legends Swervedriver, who have a new EP out today!
Swervedriver blazed a trail alongside Creation labelmates Ride, Slowdive, and My Bloody Valentine in the early 90s, but their rock inclinations always made them a slightly uncomfortable fit in the shoegaze genre. Indeed, the fact they toured with both Smashing Pumpkins and Soundgarden tells you everything you need you know.
Adam Franklin has ridiculed the pigeon-holing of the band as “shoegaze” and it does feel a little bizarre that the association has endured over thirty years, but here we are.
In fairness, the Swervedriver of Raise (1991) and Mezcal Head (1993) don’t sound a million miles away from the Ride of Nowhere (1990) or even “Leave Them All Behind” (1992), but it’s hard to find anything in their discography that sounds remotely like Slowdive or MBV. American rock titans like The Stooges, Dinosaur Jr, and Sonic Youth are more obvious touchstones than the Thames Valley crowd.
When the Britpop phenomenon exploded in the mid-90s, Swervedriver suddenly seemed like a band out of time. Creation, no doubt preoccupied with the success of Oasis, dropped them unceremoniously around the release of 1995’s wonderful Ejector Seat Reservation. The final album of their original run — 1998’s 99th Dream — was even more overlooked.
Successful reunion tours led to new material in 2015’s I Wasn’t Born To Lose You and 2019’s Future Ruins, and a new EP, The World’s Fair, is out today (March 7th).
While I certainly enjoy Swervedriver’s more recent releases and will include a couple of highlights, I’m going to make no apologies for focusing on the band’s 90s prime here. I usually set a limit of two tracks per album for these Beginner’s Guides, but I’m extending that to three this time for no other reason than because I feel like it.
“Sci Flyer”
(From Raise, 1991)
The opening track from Swervedriver’s debut is a perfect introduction to the band. I stand by every single word of gushing praise in this No Ripcord review of the Raise re-issue from 2009:
“The glorious opener Sci-Flyer still sounds positively thrilling today. Graham Bonner's explosive drum work is packed with fills that evoke an elaborate NYE fireworks display, while the duelling guitars of Franklin and Jimmy Hartridge fuse thunderous power with melodic subtlety. Franklin's vocals might sit low in the mix, but Sci-Flyer is no shoegaze track; this pure visceral rock 'n' roll at its very best.”
“Son Of Mustang Ford”
(From Raise, 1991)
Swervedriver’s world is packed full of planes (over the skyline), trains (en route to Satansville), and especially automobiles, with titles like “Girl on a Motorbike”, “Son of Jaguar ‘E’”, and “Cars Converge On Paris” highlighting a love affair with the open road. “Son of Mustang Ford” introduced the theme and remains the best example of the band’s obsession with speed and motion.
“Rave Down”
(From Raise, 1991)
An absolute stone-cold classic. Evocative lines like “before the pistol crack spins me out sideways, like the sharp hard hit of a car crash in a dream” highlight Adam Franklin’s underrated lyrical skills.
“Duel”
(From Mezcal Head, 1993)
Swervedriver’s best-known song is arguably their best. “Duel” is undeniable and never fails to disappoint.
“Last Train To Satansville”
(From Mezcal Head, 1993)
Here’s another snippet from my 2009 review: ““Last Train To Satansville” is an epic, narrative-based tune which name-checks Hitchcock's Strangers On A Train and conjures up a palpable sense of noir-ish paranoia. If you think you can hear a roaring motorcycle engine in the outro it's because you can: the band took a Kawasaki into the studio for this very purpose. That's commitment for you.”
“Never Lose That Feeling”
(From the U.S. release of Mezcal Head, 1993)
Listening to this, it’s hard to fathom why it wasn’t included on the British release of Mezcal Head. It just belongs there. 12 minutes of near perfection.
“The Hitcher”
(From the A&M Records Last Train To Satansville Promo, 1993)
Swervedriver’s early-to-mid 90s b-sides would make up a pretty formidable album. “The Hitcher”, which has reappeared on both the Juggernaut Rides compilation and an expanded version of Mezcal Head, is one of the band’s finest.
“The Other Jesus”
(From Ejector Seat Reservation, 1995)
In a different universe, Ejector Seat Reservation might have been a breakthrough smash. It’s such a great record. At a time when the music press was falling over itself to praise mediocre Britpop slop like The Bluetones (A&M labelmates, no less), Ejector Seat Reservation should have been huge. But it wasn’t to be. “The Other Jesus” is the hit single that never was.
“The Birds”
(From Ejector Seat Reservation, 1995)
Another Hitchcock reference, another classic. “The Birds” jangles with the best of them, and is an underrated highlight in the Swervedriver discography.
“99th Dream”
(From 99th Dream, 1998)
Swervedriver were again dropped by their label (DGC this time) before the release of 1998’s psychedelic opus 99th Dream. New York’s Zero Hour Records stepped in to save the day, but it was clearly the final straw for a band that seemingly couldn’t catch a break at this point. The title track, which pairs frantic guitars with a languid rhythm, is an obvious highlight.
“These Times”
(From 99th Dream, 1998)
A gentle, laid-back tune that chugs along pleasantly for its three-minute duration, “These Times” is proof that Swervedriver can deliver low-key drama.
“Autodidact”
(From I Wasn’t Born To Lose You, 2015)
It’s hard to believe ten years have passed since Swervedriver returned to the fold with new material. The opening arpeggio from “Autodidact” provides instant reassurance that Franklin and Hartridge’s magical chemistry is intact.
“Deep Wound”
(From I Wasn’t Born To Lose You, 2015)
Is “Deep Wound” a tribute to the pre-Dinosaur Jr hardcore band? I’d like to think so. It’s one of the band’s noisier post-reformation tracks, and all the better for it.
“The Lonely Crowd Fades In The Air”
(From Future Ruins, 2019)
Future Ruins is my least favourite Swervedriver record. It’s a little too mellow for my tastes and ultimately feels a little one-paced. “The Lonely Crowd Fades In The Air” is a beautiful standout, though.
“Volume Control”
(From The World’s Fair EP, 2025)
“Volume Control” taps into the magic of Ejector Seat/99th Dream era Swervedriver. Thirty years after the muted release of their third album, this band has still got it. How many of Britpop’s leading lights can say that? Indeed, how many other 90s rockers can? There’s something special about Swervedriver and we should cherish them while they’re still around. Check out the World’s Fair EP and go and see them live if you possibly can. You won’t regret it.
THE PLAYLIST:
PREVIOUS BEGINNER’S GUIDES:
This is a great read. I had no idea Never Lose That Feeling was a US-only track. Always loved that one. Usually it was the other way around, where bands put more gems in albums sold in the EU or Japan.