Yasmine became known with Soapkills, the duo she founded in Beyrouth, which must have been the first indie/electronic band to appear in the Middle East. The music of Soapkills quickly became the soundtrack to the vibrant, young arts scene which developed in postwar Lebanon, the band gradually acquired an emblematic status and, to this day, Yasmine is considered as an undergound icon throughout the Arab world.
Yasmine moved to Paris a few years ago, and started working with Mirwais (who was part of French electronic new wave band Taxi Girl in the 80s, and produced/co-wrote Madonna’s “Music” as well as the “American Life” album). Under the Y.A.S. moniker, Yasmine and Mirwais recorded the Arabology album, which came out in 2009. After collaborating with CocoRosie for a while, Yasmine teamed up with Nouvelle Vague mastermind Marc Collin to create this mesmerizing opus.
In order to write the melodies and the lyrics for these songs, Yasmine drew from the repertoire and the attitude of great Arab women singers from the middle of the 20th century, including some little-known or half-forgotten figures, such as Aisha El Marta, Nagat El Saghira, Asmahan, Shadia, Mounira El Mehdeyya and many more. Yasmine (who is an avid collector of records from that era) is inspired by these women, by the mischievous sensuality and the subtle, ironic social criticism which pervades their lyrics, and which is reminiscent of a period of freedom and emancipation in the history of Middle-Eastern societies. While Yasmine’s vocals are definitely connected to traditions of Arabic music (to which she takes a personal, unconventional and fresh approach), the structures and arrangements of the songs are very remote from its codes. They might be described as a kind of elegant, mutant strain of electro folk pop, mysteriously springing from somewhere in the Persian Gulf… with acoustic guitars, vintage synths, spellbinding atmospheres and Yasmine’s multi-faceted, wonderful voice. One element which may be lost to our Western ears is Yasmine’s playful use of various dialects of Arabic in her lyrics, which alternate between Lebanese, Kuwaiti, Palestinian, Egyptian and Bedouin, and use a lot of the code-switching and references so typical of Middle-Eastern humour.
Alongside Yasmine Hamdan's voice and Marc Collin's keyboards & programming, her debut solo album Ya Nass is graced with some exquisite guitar work by Kevin Seddiki (who co-wrote three of the songs), and by former CocoRosie collaborator Gaël Rakotondrabe, who arranged and produced the song Enta Fen, Again.
Yasmine Hamdan has started performing her new repertoire in concert, with a band which includes Marc Collin and two other musicians. They’ve recently played several shows in Cairo, where the enthusiastic crowd reception and the intrigued media reactions confirmed the uniqueness of Yasmine status in the region.
Anyone who has seen Jim Jarmusch's wry vampire comedy "Only Lovers Left Alive" will recall the scene close to the end of the movie, in which the immortal, bloodsucking lovers Adam (Tom Hiddleston) and Eve (Tilda Swinton) cease wandering the narrow alleyways of Tangier to marvel at a throaty, hypnotic performance of the love song "Hal," by Lebanese singer-songwriter Yasmine Hamdan. Nodding at the swaying singer, clad in black leather trousers and an embroidered belt, her bare arms encased in bangles, Eve tells Adam "Her name is Yasmine. She'll be famous one day."
"I hope not," the vampire replies. "She's too good to be famous."
Ironically the song, which Hamdan wrote especially for the film, has been named one of 79 tracks competing for Best Original Song at the 87th Academy Awards.