"Is it such a violent crime to open up your mind and speak?" asks Peter King on the title track of his new album with Dakoda Motor Co. It's more than just a lyric-it's a good summary of his life in the public eye over the last year: from his stage presence in concert to his antics as co-host of MTV's Sandblast beach sports show to his sometimes confrontational postings on the Internet. His brash, outspoken nature has won him both attention and criticism. Meanwhile, big changes have been going on in the band he co-fronts. Vocalist Davia Vallesillo has exited, to be replaced by Melissa Brewer, and the band has moved from "big-time" Christian label Myrrh Records to big time Atlantic Records. With the release of Railroad, their third album, Dakoda Motor Co. unveils its fiercest effort yet, and we can finally return our attention to the best thing the band has going for them: the music.
The loud, 50's-styled beach sound from Into The Son is more evident on this album than on their second work, Welcome Race Fans, which veered too frequently into down-tempo pseudo-folk cheese. Electric guitars are the rule of the day, no longer seasoned with acoustic sounds as on their debut release. Melissa Brewer fills the sandals of the departed Vallesillo quite ably, making the differences between them, at first listen, less than obvious. Peter King continues to expand his vocal role, taking sole or lead singing responsibility on several songs. He makes an adequate lead vocalist, but his over-the-top phrasing works best when backing up or alternating with Brewer's more detached and melodic vocal style. Think of the B-52s doing a Beach Boys tribute album. (Hey, it could happen.)
The album's lyrics travel a different road than on previous projects. No blatant spiritual statements here; instead, DMC provides an array of songs addressing teenage concerns, from drug abuse ("Falling Down") and gossip ("Rattlesnake") to various angles on the dating scene in several other songs. Some will no doubt railroad the band for "straying from Christ on a secular label," but in truth, these songs describe the behavior and daily concerns of a Christian far better than most of their old material. The album ends, as before, with a raucous 50s-styled tune ("Tommy"), with the band dipping into self-parody in their description of a goo-goo eyed punk rock couple. "Ooh, my hunk'a'freak", deadpans Brewer.
This is not an album that's likely to change whatever impression you may already have of DMC, unless you have only heard the mellow songs, which this album generally lacks. As one of the cuts on this disc puts it, "You still want more." In this case, it means more loud guitars, more quirky vocals, and of course, more Peter King. It may be an acquired taste, but it's good, clean fun, and there are few Christian bands better qualified to jump out to the real world.
Other coverage for this album
7ball #7Reviewed by Chris WellOK, I can admit when I've been wrong: I wasn't all that excited about the new Dakoda record because I assumed, wrongly, that I'd seen all they could do. Sure, Into the Son was bright pop-fluff and Welcome Race Fans sported three brilliant songs--but between the staged exit and replacement of Davia (who always seemed a central component of Dakoda's sound and image) with newcomer Melissa Brewer,…Similar sounding releases
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