Odditorium or Warlords of Mars

Odditorium or Warlords of Mars
Odditorium or Warlords of Mars
Studio album by The Dandy Warhols
Released September 13, 2005
Recorded April 2004 – January 2005
The Odditorium, Portland, Oregon
Genre Alternative rock, neo-psychedelia
Length 62:09
Label Capitol
Producer Courtney Taylor-Taylor, Gregg Williams
The Dandy Warhols chronology
The Black Album/Come On Feel the Dandy Warhols
(2004)
Odditorium or Warlords of Mars
(2005)
...Earth to the Dandy Warhols...
(2008)
Singles from Odditorium or Warlords of Mars
  1. "All the Money or the Simple Life Honey"
    Released: 2005
  2. "Smoke It"
    Released: 2005

Odditorium or Warlords of Mars is the fifth studio album by American alternative rock band The Dandy Warhols. It was released on 13 September 2005 on Capitol Records. The album features a return to the psychedelic guitar-rock of ...The Dandy Warhols Come Down, following their foray into electropop with 2003's Welcome to the Monkey House.

Contents

Track listing

All songs written and composed by Courtney Taylor-Taylor, unless otherwise stated. 

No. Title Writer(s) Length
1. "Colder Than the Coldest Winter Was Cold"     1:02
2. "Love Is the New Feel Awful"     9:36
3. "Easy"     7:32
4. "All the Money or the Simple Life Honey"   Taylor-Taylor, Miles Zuniga 4:29
5. "The New Country"   Taylor-Taylor, Peter Holmstrom 2:10
6. "Holding Me Up"     7:15
7. "Did You Make a Song with Otis"     0:55
8. "Everyone Is Totally Insane"     3:41
9. "Smoke It"   Taylor-Taylor, Zuniga 4:06
10. "Down Like Disco"     4:54
11. "There Is Only This Time"   Taylor-Taylor, Holmstrom 4:40
12. "A Loan Tonight"   Taylor-Taylor, Holmstrom, Zia McCabe, Brent DeBoer 11:49

Reception

Professional ratings
Review scores
Source Rating
Allmusic 3/5 stars[1]
Drowned in Sound 4/5 stars[2]
The Guardian 4/5 stars[3]
NME 6/10 stars[4]
Piero Scaruffi 5/10 stars[5]
Pitchfork (1.2/10)[6]
PopMatters 5/10 stars[7]
Q (favorable)[8]
Robert Christgau (1 star Honorable Mention[9]
Rolling Stone Australia 4/5 stars[10]

The album received a mixed critical reception, generally polarising critics. Allmusic called it "half inspired, half-embarrassing, and completely self-indulgent."[1] Pitchfork gave the album an exceptionally low 1.2/10 rating, writing "only the truly earless would mistake this assortment of bloated in-jokes and interminable, sub-song drones for some kind of masterpiece.",[6] while The Guardian called it "their best yet".[3]

Personnel

References

External links


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