{"id":27202,"date":"2025-09-19T09:00:31","date_gmt":"2025-09-19T16:00:31","guid":{"rendered":"https:\/\/www.nexusnewspaper.com\/newsite\/?p=27202"},"modified":"2025-09-12T12:50:49","modified_gmt":"2025-09-12T19:50:49","slug":"new-music-revue-yasmine-hamdan-offers-cathartic-pleas-for-hope","status":"publish","type":"post","link":"https:\/\/www.nexusnewspaper.com\/newsite\/2025\/09\/19\/new-music-revue-yasmine-hamdan-offers-cathartic-pleas-for-hope\/","title":{"rendered":"<em>New Music Revue<\/em>: Yasmine Hamdan offers cathartic pleas for hope"},"content":{"rendered":"<p><a href=\"https:\/\/www.nexusnewspaper.com\/newsite\/wp-content\/uploads\/2025\/09\/600x600bf-60.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-27203\" src=\"https:\/\/www.nexusnewspaper.com\/newsite\/wp-content\/uploads\/2025\/09\/600x600bf-60-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https:\/\/www.nexusnewspaper.com\/newsite\/wp-content\/uploads\/2025\/09\/600x600bf-60-300x300.jpg 300w, https:\/\/www.nexusnewspaper.com\/newsite\/wp-content\/uploads\/2025\/09\/600x600bf-60-150x150.jpg 150w, https:\/\/www.nexusnewspaper.com\/newsite\/wp-content\/uploads\/2025\/09\/600x600bf-60.jpg 600w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\n<p>Yasmine Hamdan<br \/>\n<i>I remember I forget<br \/>\n<\/i>(Crammed Discs)<br \/>\n4.5\/5<\/p>\n<p>To listen in length to an unfamiliar language is to become fluent in a spirit. When listening to Yasmine Hamdan\u2019s latest album <i>I remember I forget<\/i>, I do just that\u2014understand not the words but the distress, the devotion, the tenderness. She carries in her tune a cathartic plea for hope in her birthplace of Lebanon. It\u2019s strung up by her vivid tonal shifts and held between meditative harmonies.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>The album recounts with unique potency a history of Lebanon\u2014the 2020 Port of Beirut explosion, the economic collapse, the 2019 revolution. In this way, she is a narrator of crises that she detangles with patience. She performs a graceful act with radical vigor.<\/p>\n<p>Opening track \u201cHon\u201d and, later, the title track and \u201cMor\u201d are resonant of traditional Arabic melodies and percussion, merging modern sound with persisting soul. I am warmly lulled by its nostalgia and revived by its newness.<\/p>\n<p>Occasionally, she becomes playful in her rhythms and vocals. During \u201cShadia,\u201d I am swaying, my limbs and hips thawed for movement. My head takes control for the sake of efficiency on the bus where I listen. The song is sweet and sincere and capable of transcending the fractured world. The distortion initially placed over her voice lends itself to a digital age, one where tragedy is perpetually recorded and viewed.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>In \u201cShmaali,\u201d we hear this too\u2014an electronic production meets Palestinian <i>tarweeda<\/i>, encrypted songs sung predominantly by women to communicate to loved ones dating back to the Ottoman Empire and into the British Mandate era. The juxtaposition frames the thrust of this album; indeed, today, in this age, there is continued suffering.<\/p>\n<p>Hamdan treats her various themes with ardent attention\u2014no sound found on <i>I remember I forget<\/i> was created in afterthought. She has wholly infused the richness of her history into the potential of today.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Yasmine Hamdan I remember I forget (Crammed Discs) 4.5\/5 To listen in length to an unfamiliar language is to become fluent in a spirit. When listening to Yasmine Hamdan\u2019s latest album I remember I forget, I do just that\u2014understand not the words but the distress, the devotion, the tenderness. She carries in her tune a [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":27203,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[4,338],"tags":[],"class_list":["post-27202","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts","category-september-17-2025"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/posts\/27202","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/comments?post=27202"}],"version-history":[{"count":1,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/posts\/27202\/revisions"}],"predecessor-version":[{"id":27204,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/posts\/27202\/revisions\/27204"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/media\/27203"}],"wp:attachment":[{"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/media?parent=27202"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/categories?post=27202"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/tags?post=27202"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}