

Swervedriver, the iconic Oxford-based shoegaze band, has returned with The World’s Fair EP, a concise yet evocative release bridging their storied past with new fans. mxdwn’s Ric Leczel interviews Adam Franklin, a founding member, about the EP’s creation, reconnecting with collaborators like Mark Gardener and Rick Beato, the influence of comics and the shoegaze revival. Franklin shares insights on the band’s creative process, recent performances and their embrace as “OG shoegazers” in 2025.
mxdwn: Hey, Adam, thanks for joining me. I’m a new Swervedriver fan, surprised to find your music in PlayStation games. The World’s Fair EP appeals to new and veteran fans alike, with critics praising tracks like “Time Attacks” and “Pack Your Vision” as a return to form. I hear a consistent thread from your early work to now. Is this EP an entry-level vehicle for new listeners?
Adam Franklin: Probably. It’s an EP, our traditional approach—three EPs before our first album, a couple before the second, as was common in London. We had four songs, so we released them instead of forcing a full album. I’ve always consumed music song-by-song, from T. Rex 7-inch singles in the early ’70s to now, pulling tracks for playlists like old mixtapes.
mxdwn: I love mixtapes! On Bandcamp, you sell individual tracks, and you seem to enjoy fans choosing songs. What’s the story behind the Doremi project and its B-sides and demos? Was it a time capsule, revisiting your younger self, or spontaneous?
AF: It was serendipitous. Our fourth album, 99th Dream, was out of our control—someone else held the rights. We reclaimed them and made a double-album reissue with four Alan Moulder-produced B-sides. Two years ago, I found unmarked tape reels while searching for Mezcal Head demos, like “Duel,” which we couldn’t locate. Instead, I discovered six or seven 8-track 99th Dream demos we’d forgotten. They were raw, capturing the band’s essence. Fans loved them, so we released Doremi Faso Latido on vinyl. Bandcamp’s honest; we get alerts when someone buys a track or EP, which is great.
mxdwn: That’s like Grandma’s photo album with no names or dates!
AF: Exactly! It was a treasure hunt.
mxdwn: I saw your 2020 interview where you called yourself a “Zoom virgin.” You’ve come a long way! Your neighbor Sandy recommended Rick Beato after seeing his YouTube channel. Any more collaboration tips from Sandy?
AF: Sandy’s a character, played in ’60s bands and owns a left-handed Fender bass from that era. I borrowed it once but had to play it upside down. He pointed me to Rick’s episode calling Swervedriver his favorite unknown band. We chatted on Zoom, and Rick offered his studio. His engineer said we were the first band there since 2016, as his YouTube took off. We recorded two songs, mixed them in Brixton and finished the EP. It was fun—cocktails, good food and solid work.
mxdwn: How was returning to Oxford to work with Mark Gardener and create this music? Like riding a bike again, or were you stir-crazy post-pandemic?
AF: A bit of both. The pandemic disrupted everything, but working with Mark felt like a reunion. We collaborated ten years ago on I Wasn’t Born to Lose You for vocals in Oxford. For World’s Fair and “Volume Control,” we recorded guitars, percussion and piano at his place. It was relaxed—great food, catching up and adding strings from Cleena Delamare and Sarah Wilson, who I’d toured with. Tracks came together across LA, Oxford, Atlanta and London. It was a creative homecoming.
mxdwn: You emphasize music’s emotional impact, smiling when mentioning Rick, Mark, and Alan Moulder. Is evoking feeling central to your process?
AF: Absolutely. These collaborators—Alan produced our ’90s albums and consulted on World’s Fair from Antigua—share a connection. We aim to transport listeners. The EP’s 15 minutes, but it’s crafted to shift moods. It’s a responsibility to deliver something impactful.
mxdwn: This EP feels organic, like Swervedriver reborn. It’s as if you asked, “What’s left to do?” and this was the answer.
AF: Exactly. It came together naturally. We didn’t overthink it, just followed the songs. That’s Swervedriver—chasing that feeling.
mxdwn: I read a quote that had me laughing so hard I fell off my chair. You said your early work aimed to “sound like a car crash in a dream, all swirling chaos but somehow beautiful.” That’s a sensory description.
AF: Ha, that nails it! We wanted music that hits hard yet feels otherworldly, like floating through wreckage. That’s still our goal—chaos with heart.
mxdwn: You played Slide Away Fest and the Hollywood Palladium recently. How do you pick venues to boost live energy?
AF: We choose venues that feel right. Raleigh was a warm start with friends and family. The Brooklyn Paramount, closed since the ’60s after hosting Nat King Cole and Buddy Holly, reopened last year. Playing for 4,000, many first-timers was incredible. The Palladium was wild—33 years to the day since we played there in 1992. Young audiences were great. Mickey from Nothing curated Slide Away Fest, blending new and OG shoegaze bands with great lights, smooth organization, and local charity support.
mxdwn: Do you like being called an “OG shoegazer”?
AF: It’s funny. Shoegaze was a jab at pedal-staring bands, but it’s now positive, like krautrock. Thirty-five years ago, we’d deny it; now we embrace it. It helps fans find us.
mxdwn: Comics like Love and Rockets influenced your lyrics. How do visuals shape your music, like the World’s Fair video?
AF: Comics, especially Love and Rockets and Lord Lewellen, shaped our early lyrics and vibe when we signed to Creation and A&M. “The World’s Fair” video was spontaneous, shot on an iPhone with colored plastic filters in Oxford, edited to match the song’s winding feel. We want listeners to get lost, finding their own meaning. Our music and lyrics are visual, with guitars and words painting scenes.
mxdwn: “Sci-Flyer” has dystopian imagery woven into ethereal sounds. How do you balance that?
AF: “Sci-Flyer” came from a short story about aliens, with a comedic twist—like aliens surprised by a woman with “only two arms and one smile,” evoking The Simpsons’ googly-armed aliens. We play with lyrics, like “Watchmaker’s Hands,” inspired by a shop I thought traveled through time. It’s about letting listeners find their own stories.
mxdwn: You balance Swervedriver, solo projects and collaborations like Magnetic Morning. Do they overlap?
AF: They do. Some Adam Franklin or Bolts of Melody songs could fit Swervedriver. Magnetic Morning with Interpol’s Sam Fogarino was unique—we split songwriting. We’re reissuing that record this year, possibly reworking tracks. I let songs guide which project they fit.
mxdwn: As a kid, did you envision 2025, leading the shoegaze scene?
AF: Not at six! I was obsessed with 7-inch records, drawing on labels and playing B-sides. Signing to A&M in 1990, who released my favorite Carpenters single, was thrilling. Test pressings still excite me. Making records was always the dream.
mxdwn: Musically, where do you fall—Beatles, Stones, The Who?
AF: In the ’80s, we’d immerse in bands like the Beatles, Stones, The Who, The Clash for a month, then move on. Pebbles and Nuggets compilations—US garage punk and psych one-hit wonders—shaped us with raw energy.
mxdwn: Young musicians cite your alternate tunings, like FCDGCD from Mezcal Head, as inspiration. How’s it feel to influence them?
AF: It’s flattering. I aim to make tech talk accessible, like with Rick Beato. The YouTube channel, Anyone Can Play Guitar, demystifies riffs, which I love. Our social media doubled during our break, and being ranked above Steve Cropper in a guitarist’s list was wild. Mark Kates, who signed Nirvana, called our Boston show “ridiculously good” and vital—that’s humbling.
mxdwn: Your humor and attitude shine through. Younger fans crave the ’80s exploration we had. What are your thoughts on how music consumption has changed.
AF: Kids have rock’s entire history on Spotify, unlike our record store hunts. Bands once avoided sounding derivative; now, homage is fine—mixing Black Sabbath with ABBA is normal. It’s freer, but with everyone recording, mastering your craft matters.
mxdwn: Any final thoughts on what you want fans to feel with World’s Fair?
AF: It’s about crafting a 15-minute mood shift, taking listeners somewhere. Past songs like “Neon Lights Glow” were long and costly, but this EP is tight, designed to move you. I hope fans get lost and feel something fresh.
mxdwn: This was a joy, Adam. Thanks for the chat—I’m excited for your next project!
AF: Cheers, Ric. I loved this. We’ll send a new band photo from the tour for your piece. Take care!