Not Quite So Dandy

By John Hendel

Published Sept. 27, 2005

Maybe it's the drugs they love to reference. Maybe it's hubris in the wake of their "DiG!" documentary. Or maybe it's just that The Dandy Warhols' lead singer Courtney Taylor-Taylor forgot to open his mouth for the whole record.

In any case, the new Dandy Warhols album, Odditorium or Warlords of Mars, proves to be a major let down. Although the band normally is able to pull off its ridiculous arrogance, here the charm disappears. The entire album reeks of laziness.

The three opening tracks reveal this prominently. The minute-long first track isn't even a song. A&E's Bill Curtis simply announces the album, citing Dandy's invention of rock and calling the album a "piece of rock history." Ultimately, while lacking humor, it still seems even less extraneous than the disaster that follows.

The next two tracks, "Love Is the New Feel Awful" and "Easy," drag on forever — the first track alone is nearly 10 minutes long. Sadly, the tracks exist mainly as filler and lack any real energy and depth. Random guitar noises and drumming make up five minutes of "Love."

The actual lyrics are nearly irrelevant. Taylor-Taylor mumbles through the majority of this album, barely rising above a monotonous drone. Although this has worked on certain past Dandy songs such as "Godless" and "Mohammed," here it's more annoying than anything.

Not once does his voice ring with the clarity of previous hit songs such as "Bohemian Like You" and "Boys Better." Those hits managed to be catchy, quick and they used their repetitiveness effectively.

The catchiness fails to match any previous high points, but not all is lost. The echoes of Dandy Warhols' fame can be heard in certain tracks. Most notable is "All the Money or the Simple Life Honey." Opening with horns and carrying more of an energetic rock mood, it resonates the classic Dandy Warhols vibe of their second and third albums.

Their previous album, Welcome to the Monkey House, relied more on synthesizers and slower, drawn-out tracks. The return to rock is prevalent throughout much of the album, yet rarely surpasses monotony.

Other decent tracks include "Down Like Disco," "Everyone Is Totally Insane" and "The New Country." None truly stand out, but they all have the nostalgic infectious touch. Sure, plenty of weak points exist - the ear-splitting opening to "Down Like Disco" or the fact that "The New Country" clashes horribly — but hardcore fans of the Dandys could find enjoyment in these tracks.

Unfortunately, the first single could have been better chosen. The song "Smoke It" sounds washed up. They aim for the old school rocker feel, but it falls flat. The drug references also, at this point, seem extraneous. Yes, Courtney Taylor-Taylor, you made your addictions crystal clear about five albums ago. No need to remind us in every other song.

The amount of filler is staggering. Aside from the first three tracks, there are the ridiculous couple minutes of "Did You Make A Song With Otis," which features strange chanting and growling. "Holding Me Up" is another seven minutes of droning, though that pales in comparison to the last track. The final dirge, "A Loan Tonight," is 12 minutes of pain.

As a whole, it's frustrating. In Odditorium, the listener can glimpse at the greatness of what The Dandy Warhols could be, yet constantly hears them falling short. The average music fan would be better off trying the band's second and third albums. The only greatness the Dandy Warhols retain is in their own minds.