With a lack of similar examples in this facile world of shallow pop bands extolling every selfish desire known to man or woman, it may be hard to convey to the current modern music fan just why Ballydowse is so important. But here goes: They are unique and vital because of the way they back up their topical Celtic music/Oi! punk rock musical protest with actual direct political action. Their activism with Voices in the Wilderness, which concentrates on working against the inimical sanctions our own (U.S.) government has against the people of Iraq (in an ignorant attempt to affect their government, which merely makes life hell for the people suffering there already) is the best example. They also have participated in World Relief, an organization focusing on helping people of any country in times of economic decimation. Ballydowse are the fulfillment of punk rock's promise of protest as a lifestyle; and, not coincidentally, also serving their commitment to the Gospel by seeing to the needs of widows and orphans in damaged lands.
But while it may need the above explanation to prove why Ballydowse are not social poseurs, it's a piece of cake to convince people how GOOD they are as a band. Their unlikely creative combination of traditional folk musics, artfully played and delightfully resonant, with a "crusty punk" pirate-rock feel, succeeds sonically. This original style is experimental enough, allowing for a lot of ambience and texture, as well as focused enough to express the content of the band's often rage-filled or sadness-drenched songs, which relentlessly examine the actions of real-life martyrs and victims and humbled heroes in this mordant world of incessant war caused from moral decay and spiritual conceit. The hauntingly beautiful and bone-dry caustic co-vocals of Robina and Andrew Mandell are a wonderful juxtaposition, capable of featuring all of the hope and ambivalence conveyed in the story songs and anthems.
But talk about intense! The music is authentically rustic, and very seductive -- the violin, bodhran, and concertina are exquisitely played -- yet the topics addressed and the manner they're delivered in give the casual listener a real challenge. A challenge to their consciences, to their indifference, and to their need to be simply "entertained" by what they listen to, versus of course being provoked, implored, or moved to act from the convictions of their hearts. And that is why this band is so important.
Other coverage for this album
Art for the Ears 2001Reviewed by Marco PovervestBallydowse comes out of the JPUSA community in Chicago. A community widely known for its social concern. That Ballydowse is a brainchild of JPUSA is clear from the very first second of this release. It starts with a sample of a reporter asking foreign minister Albright about the Iraq sanctions. The song that follows it, Weapon Of Mass Destruction, deals with this issue and the social consequences…The Phantom Tollbooth 2000Reviewed by Steven S. BaldwinIndubitably Ballydowse's eclectic brand of music is an acquired taste, but not nearly so difficult to acquire as it might at first seem. However, a behind-the-scenes glimpse of their pitch session to a major corporate music executive illuminates the difficulty of their unique situation. The top-secret transcript of that first pitch session follows: Ballydowse: Hi. Thanks so much for your…Similar sounding releases
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