Bryant H. McGill once said, “One of the most sincere forms of respect is actually listening to what another has to say.” Well, the world better sit up and listen to what the Crocodiles have to say. The San Diegan duo are a force to be reckoned with, they have unquestionably revealed their true potential on this musical excursion. Much like the cover of their last album Endless Flowers – which featured a rather exposed individual walking down a flight of stairs, meat and veg tucked between his legs, a somewhat perplexed look upon his face – Crocodiles have truly revealed their desires here. A decision which has proved to be nothing short of brilliance, ‘Crimes of Passion’ is a record which is submerged in a sea of tight, perfectly formed melodic expression.
A classic-in-waiting, from the opening bars of the vivacious ‘I Like It In The Dark’, which showcases their guitar crunching ability, to the capricious power of ‘Me And My Machine Gun’, Charles Rowell and Brandon Welchez implement their vision in a glorious manner. The boldness of ‘She Splits Me Up’ is deeply invigorating; a serving of iridescent melodies that sounds like a modern day homage to Velvet Crush. An almost perfect song, ‘She Splits Me Up’ fittingly appears on an album erupting with anecdotes of romantic misfortunes.
Possessing a rare magnetism, ‘Crimes of Passion’ serves up tracks that could have complimented the jukebox at Al’s Diner rather nicely, the eatery famously frequented by The Fonz and co. A sanctioned matrimony of UK indie and San Diegan vibes, ‘Crimes of Passion’ carries an assuming, yet still uncompromising sound.
Lyrically, there’s quite a lot to scrutinize. Story of Love, Jean Genet’s banned film involving a sexually driven magnetism between disillusioned inmates is referenced in the velvety ballad ‘Un Chant D’Amour’. An infamous film lasting all but 26 minutes, Genet’s vision resurrected the age-old debate between what is obscene and what is art. Even with Crocodiles’ brazen lyrical tenacity, ‘Crimes of Passion’ is most definitely artistic, unapologetic yet delightfully poetic.
Since 2009, Rowell and Welchez have provided us with catchy, reputable music, however, have managed to earn little more than a cult reverence. Crocodiles haven’t yet discovered the depth of adoration that their music most definitely deserves. Mark my words, their fourth album is about to change all that.