Album: Yasmine Hamdan - I Remember I Forget بنسى وبتذكر

Paris-based Lebanese electronica stylist reacts to current-day world affairs

share this article

Yasmine Hamdan's 'I Remember I Forget بنسى وبتذكر': lamenting the increasing regularisation and ubiquity of the abhorrent

A lot is going on during Yasmine Hamdan’s third solo album. Despite all ten songs of I Remember I Forget بنسى وبتذكر drawing from the lyrics and music of Palestinian folklore, what is heard is avowedly non-traditional. Hamdan is sticking with the electronica she has been associated with since the late 1990s.

The title track exhibits an acid house pulse. “Seven vows سبع صنايع” begins as a smoky ballad but quickly incorporates ominous washes of sound and echoing, gun-shot percussion. “Shadia شادية”, the most linear track, has a Seventies film-theme vibe. “Mor مرّ التجنّي” evokes a desiccated, distracted form of trip hop.

Lyrically, in Arabic, the title track laments the increasing regularisation and ubiquity of the abhorrent: “Murder, is normal, Distortion, is normal… Looting, is normal, Manipulation, is normal, Intimidation, is normal… Despair, is normal,” intones Hamdan, who left Lebanon for Paris in 2005. As well as being a cri de cœur motivated by her reaction to current-day world affairs, in particular those on Lebanon’s doorstep, it feels that on the 20th anniversary of her departure from where she was born as if Yasmine Hamdan (ياسمين حمدان) is reviewing where she is and where she was when she arrived in France.

Reinforcing this impression, there are intimations – especially on the poppy, rave-edged “DAYA3 ضياع “ (the album is mixed by Nicholas Jaar, who has a lengthy track record in this area) – of her Lebanese duo Soapkills. I Remember I Forget بنسى وبتذكر, the belated follow-up to 2017’s Al Jamilat, also rewinds how she makes music. Marc Collin, best known from Nouvelle Vague, was integral to her first solo album, released in 2012. He was not a part of Al Jamilat. Now, he is back. His return fits with this retrospection.

Throughout the album, there is a tension between the Arabic inclinations of the songs and the electronica. Mostly, this adds drama but on odd occasions, such as “Mor مر التجن,” it doesn’t quite gel. Yasmine Hamdan will be playing live next year and, hopefully, this awkwardness will have been smoothed out by then.

@kierontyler.bsky.social

Add comment

The content of this field is kept private and will not be shown publicly.
Name that you would like to appear as the author of the comment
The tension between the Arabic inclinations of the songs and the electronica adds drama

rating

3

explore topics

share this article

Help secure the future of arts journalism

In this era of algorithmic recommendation, opaquely sponsored content and AI slop, theartsdesk’s mission to preserve real journalistic and critical values has never been more important.

If you like what you see here, please join us 
in this mission.

Subscribing to the site will help us in our coming 
redesign and expansion.


If you do this before the 31st August this will be at our guaranteed founder’s rate: 
your subs will never increase again.

Subscribe now for £5 per month. 
or yearly for just £40.

Or if you simply want to support us with a one-off donation, you can do so here.

more new music

The welcome return of a foundational album of electronic minimalism
Surrealism, social observation and more muscular sound from the Leeds quartet
A powerful personal outpouring of joy and pain - with a great beat
The London quartet have taken to playing large venues with ease, as this career-spanning set showed
The Philadelphia punk rockers continue to impress
A partial account of how Brit-punk absorbed an aspect of reggae
The Fez Festival Of World Sacred Music and the Fes Gathering bring the world together
Bristol band aren't happy but offer up the occasional sing-along
A new album is unveiled and old tunes are played for the last time