**PIC Blur-endorsed Icelandic duo move from techno to post-punk on an itchy claustrophobic debut
Feeder : Swim
Britrockers' passable debut repackaged
There's an almost ill-at-ease sound to Feeder in places, probably because they were a new band from South Wales trying to sound like post-grunge MTV rock. They had some success, decamping to the USA for mammoth tours, but in Britain they were still not quite the Britrock nearly-men they'd become in the late-'90s. And nowhere near the plentiful success they're enjoying now.
'Swim' still exhibits Feeder's easy talent for quiet-loud-quiet-loud, but the musical climate was different back then - this was before Limp Bizkit and nu-metal, which meant that angry rock couldn't just sneer and raise a middle finger; instead you needed sincerity and a couple of ponderous, slow numbers.
This explains 'Swim', an unfailingly polite rock album constrained by a genre that was pretty much dead in the water, and Feeder sound trapped. Indeed, Nicholas manages to plead for freedom throughout the album: "I feel so free", he sings on 'Stereo World'; "We can be free" on 'WIT' and, on 'Descend', "I could be free". Not free enough to write an original lyric, though.
They've moved on, then, but songs like the electronically smeared 'Stereo World', motorised riffer 'WIT' and the Welsh borders cowboy rock 'Swim' still slam the needle on the rockometer. Stick to the first six tracks and it's a confidently confused, pounding debut. But stretched out with the other five B-sides, it lacks any real rock signature. Obligatory slowie 'Descend' sounds like Stone Temple Pilots and the overall feel is of a band who really respect Nine Inch Nails.
Nothing wrong with that; it's just an era of rock which has passed. Feeder are now free. But they coped pretty well when they had to pretend to be American.
The Californian garage king's T Rex covers album shows his melodic muscle
Johnny Depp plays a monstrous Boston gangster in a disguise so unsettling you’ll struggle to recognise him
An EP dedicated to victims of the Paris attacks shows the Foos are on defiant form
The Radiohead guitarist explores traditional Indian music, with mostly impressive results