Crocodiles - Crimes Of Passion

Der Noise-Faktor ist den Crocodiles auf ihrem vierten Album ein wenig abhanden gekommen und die Gitarrenwände verdienen diesen Namen kaum noch. Stattdessen huldigt die Band aus San Diego auf "Crimes Of Passion" vielmehr ihren britischen Vorbildern: Während man sich "I Like It In The Dark" gut als Mittler zwischen "Screamadelica" und "Give Out But Don't Give Up" vorstellen könnte, weisen die Bläser auf "Heavy Metal Clouds" in die gleiche Richtung wie das letzte Album von Primal Scream. "Marquis de Sade" steht den Feedback-losen The Jesus & Mary Chain nahe, "Teardrop Guitar" ließe sich problemlos auf einer frühen Platte von The Charlatans verstecken und "She Splits Me Up" könnte auch auf "Bandwagonesque" von Teenage Fanclub glänzen.   

Und wenn man erst einmal weiß, dass Sune Rose Wagner als Produzenten tätig war, dann hört man auch an der ein oder anderen Stelle The Raveonettes deutlich heraus.

This fourth full-length is another fizzy, fuzzy, monochrome mash-up of The Jesus And Mary Chain, Black Rebel Motorcycle Club and The Raveonettes. It was produced by the latter’s Sune Rose Wagner, and his stamp is all over these 10 songs, especially the sleazy guitars of ‘Virgin’ and the ironically titled lilt of ‘Heavy Metal Clouds’. An album of washed out, happy-sad, semi-psychedelic sounds that glower as much as they gleam, it’s perfect for those 3am mornings when you’re full of alcohol and regret.

(NME)

Since the lo-fi guitar fuzz of early albums Summer of Hate and Sleep Forever, San Diego's Crocodiles have cleaned up their sound immensely. Their shoegaze leanings have been parked, replaced by an altogether sunnier disposition. Maybe those shades welded to their faces may now even be put towards outdoor use?

The honky tonk piano and groove of opener I Like It In The Dark could pass for Primal Scream in Stones mode, while the big hooks and backing vocals of drummer Anna Schulte on Marquis de Sade help Crocodiles explore 'radio friendly pop hit' territory for the first time.

Brandon Welchez' vocals revel in surfing on top of the mix rather than being buried in distortion and there's even some big brass on Heavy Metal Clouds. Edging away from their Mary Chain revivalist roots, Crocodiles now feel like kinsmen to Danish exiles the Raveonettes, maintaining a detached retro cool while never losing sight of melody. Their most engaging excursion yet.

(The Skinny)