Crocodiles

It has been a tough year for New York's Crocodiles since the release of their fifth album Boys last May. Suffering all manner of difficulties, it's a wonder they have even come back at all, never mind so soon. When listening to Dreamless, their sixth album, forget everything you know about Crocodiles. Forget those searing signature washes of distortion laden guitar, because Crocodiles have gone experimental.

The LP opens with the ethereal Telepathic Lover, which is somewhere between 60s pop, spaghetti western music and Joy Division. This perfectly crafted pop song is led by a driving bass line and the distinctive Crocodiles vocal drawl is still there but the buzz saw guitars are notably absent.  And do you know what? You don't miss them.

Next up is Maximum Penetration, which again shies away from the guitars but pairs the insistent drumming and slinky bass work with more subtle keyboards. To say that this LP is more experimental sells it short; there are still a bunch of total anthems here such as the extreme disco of Welcome to Hell and the sure-fire indie banger Jumping On Angels. There's a lot here that old school Crocodiles fans will identify with.

Continue reading: Crocodiles - Dreamless Album Review

San Diego's Crocodiles have traditionally traded on a noisy, arty sound indebted to The Jesus and Mary Chain and even hints of My Bloody Valentine. On 'Boys', the duo's fifth full LP, Crocodiles have developed a great big pop side to their distorted rumblings, and are all the better for it.

That isn't to say that the band have thrown aside their trademark sounds, as is demonstrated on the album's opening number 'Crybaby Demon'. This tune opens with washes of heavily distorted guitars, sitting atop a driving rhythm with a groovy, 1960s psychedelic feel to it. Next up is recent single 'Foolin' Around', whose bassline features an astounding number of the same notes as that of Michael Jackson's 'Billie Jean'. This aside, the song is probably the most accessible Crocodiles song yet, equal parts Dandy Warhols cool and Super Furry Animals weird. It is not only a totally danceable hip piece of alternative rock, but also an unusual and unexpected (and wholly enjoyable) hybrid.

Elsewhere on the album, Crocodiles refuse to play by the rules and go into all sorts of weird little nooks and crannies, such as the dirty, nasty, fuzzed up 'Do The Void', the elevator-music-gone-wrong melancholia of 'Don't Look Up' and the spaghetti western influenced 'Blue'.

Continue reading: Crocodiles - Boys Album Review

Crocodiles are known for their racket; good racket mind and they haven't given this up on this for 'Endless Flowers.' They seem to have tamed themselves, something that may make them likeable to a wider crowd and spread the love of this cleaner noise pop sound. Don't worry; it's not that squeaky clean, they haven't turned this Jesus and Mary Chain influence on its head. But it sounds like they're progressing and taking anxious baby steps out of this 80s Jesus and Mary Chain shadow that has been cast upon them since 2008.

Continue reading: Crocodiles, Endless Flowers Album Review

On first listen, all that Sleep Forever by Crocodiles offers is lo-fi mess, but if you give it time and let it in - like you should with many great albums - it reveals itself as one of the most lovable psychedelic gems of the year.

Continue reading: Crocodiles, Sleep Forever Album Review