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"RADIO PALESTINE"
Sublime Frequencies
Radio Palestine is the most recent of Alan Bishop's amazingradio collages released on his Sublime Frequencies label. "Palestine"is used here as a blanket term to denote the whole of the EasternMediterranean encompassing the various locations where these soundswere recorded over the summer of 1985. Bishop captures a stunningsnapshot of a region splintered by political upheaval and violence, butunited in its teeming, eclectic overload of cultures, traditions andlifestyles. Radio Palestine cycles through an endless multitude ofdisparate styles: the Nile River Nubian folk of Southern Egypt, modernArabic pop from Beirut, orchestrals from Cairo, Greek sartaki,Palestinian folk, shortwave signal jamming, Jewish Klezmer and othertraditional forms, European pop hybrids, Jordanian reverb guitar andscores of news reports, commercials and radio station IDs in aBabel-like cacophony of languages and dialects. English news reportsprovide grim details of terrorist bombings and political tensions inthe region, clearly showing just how little has changed in theintervening two decades. This prismatic approach to splicing togethermusic and dialogue is extraordinarily effective, juxtaposing absurdlyoverwrought French lounge music from Beirut with minimalist, hypnoticfolk of Egypt which might suddenly and unexpectedly segue intoshortwave radio interceptions of messages from military spies,clandestine political organizations and what sounds like fieldrecordings of gunfire and explosions recorded in the midst of Israeliskirmishes with the PLO. And I was just as likely to hear that kind ofhuman bloodshed as I was to catch a few seconds of Robert Wyatt's "SeaSong" or experimental female vocal pop sounding not unlike a LebaneseKate Bush. "Tangental Psychedelico" contains an amazing performance byan unknown Jordanian artist, calling up the spirits of Islam with theresonant echoes of his desert-surf guitar. Radio Palestine is apowerfully constructed document that forgoes making any politicalstatements, instead painting a painfully ephemeral portrait of acountry in violent flux.
Radio Palestine is the most recent of Alan Bishop's amazingradio collages released on his Sublime Frequencies label. "Palestine"is used here as a blanket term to denote the whole of the EasternMediterranean encompassing the various locations where these soundswere recorded over the summer of 1985. Bishop captures a stunningsnapshot of a region splintered by political upheaval and violence, butunited in its teeming, eclectic overload of cultures, traditions andlifestyles. Radio Palestine cycles through an endless multitude ofdisparate styles: the Nile River Nubian folk of Southern Egypt, modernArabic pop from Beirut, orchestrals from Cairo, Greek sartaki,Palestinian folk, shortwave signal jamming, Jewish Klezmer and othertraditional forms, European pop hybrids, Jordanian reverb guitar andscores of news reports, commercials and radio station IDs in aBabel-like cacophony of languages and dialects. English news reportsprovide grim details of terrorist bombings and political tensions inthe region, clearly showing just how little has changed in theintervening two decades. This prismatic approach to splicing togethermusic and dialogue is extraordinarily effective, juxtaposing absurdlyoverwrought French lounge music from Beirut with minimalist, hypnoticfolk of Egypt which might suddenly and unexpectedly segue intoshortwave radio interceptions of messages from military spies,clandestine political organizations and what sounds like fieldrecordings of gunfire and explosions recorded in the midst of Israeliskirmishes with the PLO. And I was just as likely to hear that kind ofhuman bloodshed as I was to catch a few seconds of Robert Wyatt's "SeaSong" or experimental female vocal pop sounding not unlike a LebaneseKate Bush. "Tangental Psychedelico" contains an amazing performance byan unknown Jordanian artist, calling up the spirits of Islam with theresonant echoes of his desert-surf guitar. Radio Palestine is apowerfully constructed document that forgoes making any politicalstatements, instead painting a painfully ephemeral portrait of acountry in violent flux.
