Summer of Hate

AMG Review of Summer of Hate

Jason Lymangrover
All Music Guide

Even without "Neon Jesus" -- the single that garnered Crocodiles quite a bit of web attention just before this release -- Summer of Hate stands strong as a tremendous debut: one that pays heavy tribute to its influences while never seeming overly derivative. Crocodiles' band name, which references Echo & the Bunnymen's 1980 album, is a telling clue that Charles Rowell and Brandon Welchez are well-versed in /p>

eo-psychedelia, British post-punk, and /p>

oise pop. The crunchy guitars bring to mind Spacemen 3, the tremolo keyboards and drum machines show reflections of Suicide, and the production style of cavernous vocals masked by sheets of white noise comes straight out of the Jesus and Mary Chain handbook. While many other bands out there have attempted to rehash the scummy sounds of yesteryear (Black Rebel Motorcycle Club comes to mind), rarely does anyone take it to another level so successfully. Summer of Hate manages to simultaneously revitalize the old and be relevant amidst modern trends, with the duo bookmarking themselves neatly into the increasingly popular lo-fi/noise resurgence alongside similar-minded bands Crystal Stilts, Vivian Girls, and their labelmates Wavves, whose album was released on Fat Possum several weeks before Summer of Hate. Hipster appeal notwithstanding, Crocodiles are more than just a band with the right sound at the right time. Under their raw demeanor, they're surprisingly adept at creating sweet melodies. "I Want to Kill," the "Just Like Honey" of the album, grinds nihilistically over a sugary pop hook that recalls the Crystals, and wild swirling feedback propels the mesmerizing seven-minute wash of "Young Drugs."