'It is important that the rest of the world registers its strong disapproval' - Eno
Brian Eno has offered his support to Independent Label Market, a London-founded record market that recently refused an invite to Tel Aviv, Israel, citing a cultural boycott.
ILM – who have previously run markets in New York, LA, Berlin and Barcelona – were approached about hosting an Israeli market, and wrote back through co-founder Joe Daniel to say “I’m sure there would be potential for this in Tel Aviv, however we can’t bring ILM to Tel Aviv because we support the aims of the Palestinian-led cultural boycott.”
Daniel later added: “Palestinians live under Israeli occupation, apartheid and siege, and have called for boycott in the attempt to end these crimes. We hope for peace and justice for all the people of Israel and Palestine”.
Brian Eno has now added his own support, saying of the case:
“I welcome the decision by Independent Label Market to continue to support the struggle of the Palestinians. As the Israeli government slides further and further to the fundamentalist right, it is important that the rest of the world registers its strong disapproval. And for the increasing number of dissenting Israeli Jews who feel betrayed by their government, it is important that they know they have support from the outside.”
British-Palestinian musician Samir Eskanda added “more and more musicians and industry figures are deciding to speak out in support of Palestinian rights, by endorsing the cultural boycott of Israel. Refusing professional engagements in Israel, or with institutions linked to its government, is the most appropriate response to the crimes of an apartheid state.”
The ILM have also added their name to more than 1,000 businesses and artists who have signed the ‘Artists for Palestine‘ pledge.
Just two days ago (March 30), Eno shared a 21-minute new song ‘The Ship‘ ahead of a new album of the same name, due on April 29.
Eno explained in a press release: “The piece started as an Ambient work intended for a multi-channel sound installation in Stockholm, but during the making of it I discovered that I could now sing a low C – which happens to be the root note of the piece.
“Getting older does have a few fringe benefits after all. From that point the work turned into an unusual kind of song…a type I’ve never made before where the vocal floats free, untethered to a rhythmic grid of any kind.”