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 Bunnyman's 1980 album, is a telling clue that Charles Rowell and Brandon Welchez are well versed in neo-psychedelia, British post-punk, and noise 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, with the "Just Like Honey" of the album, "I Want to Kill" grinding nihilistically over a sugary pop hook that recalls the Crystals, and wild swirling feedback propelling the mesmerizing seven-minute wash of "Summer of Hate."
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