Verbathim, The debut album from Palestinian-Canadian artist Nemahsis (a.k.a. Nemah Hasan) marks the arrival of an impressive new voice, one bolstered by immense vocal talent and a hunger for creative and political risk. Drawing casual inspiration from the quiet introspection of artists like Phoebe Bridgers or Lana Del Rey and the theatrical, clear-eyed bombast of Kate Bush, Verbathim lands on a sterling, sophisticated pop sensibility shot through with sincere weight.
Opener "Old Body, New Mind," introduces things with a lo-fi, distorted guitar that gives the track a raw, hypnotic quality. The melancholy lyrics and introspective tone set the stage for the rest of the album, with Hasan's exceptional vocal delivery taking centre stage. The slightly discordant instrumentation paired with her expressive voice creates an almost meditative atmosphere.
"You Wore It Better" stands out with its self-critical, self-loathing lyrics that delve into themes of self-acceptance and comparison. The fluttering guitars and dreamy production are heady and evocative, and Hasan's layered vocals only enhance this mood. Lyrically, the track touches on deeply personal struggles, and the vulnerability on display is as striking as the composition itself.
"Coloured Concrete" shifts into more obvious pop territory, with its catchy, sway-inducing rhythm. Hasan showcases her vocal versatility here, delivering a performance that's as smooth as it is poignant. The track's unrelenting guitar and hooky melody make it the clear choice for a signature song, with Hasan absorbing her influences fluidly, carving out her own space with a sound that feels both familiar and forward-thinking.
On "Fine Print," Hasan confronts the pressures of the music industry with piercing lyrics that reflect concerns over artistic compromise. Her vocal performance here is particularly impressive, displaying both range and emotional depth as she wrestles with the fear of losing control of her art. Similarly, "Miss Construed" offers a poetic exploration of the precariousness of sharing art and the risks of being misinterpreted.
Hasan's reflections on how art evolves in the hands of listeners feel profound without being heavy-handed. Art, after having left the artist's hands, becomes claimed by the listener, and artists engage with their work like running into an old, now-distant friend — a beautiful if not slightly heartbreaking sentiment.
"Delusion" takes a more experimental approach, leaning into funkier production with a bit of Kanye-inspired flair in its back half. The song's exploration of delusion as a drug and coping mechanism is fascinating, blending sharp lyricism with infectious beats. It's another testament to Hasan's ability to balance creativity with accessibility.
"I Borrow Happiness from Tomorrow" and "Dead Giveaway" both continue to showcase Hasan's introspective lyricism, with the latter offering a southern-tinged ballad that expands her already chameleonic approach. One of the album's more experimental moments comes with "Furniture Killer," where the percussion stands out and Hasan plays with exaggerated vocal emphasis. The cheery synths give the track a playful edge, contrasting with the album's more somber moments.
Standout track "Stick of Gum," is a defining moment for Hasan. The song's focus on resilience and familial bonds is made even more powerful by the music video, filmed in Jericho, in Palestine's West Bank, prominently featuring the Palestinian flag. The line, "It's easier loving you than to know why I need to" speaks to the depth of Hasan's care for her people and their country — Verbathim's independent release comes after Hasan was dropped by her previous label for her pro-Palestine stance.
Considering the ongoing genocide of the Palestinian people and the unending occupation by Israel, the video's joyful and familial atmosphere, a love letter to Hasan's homeland, feels like an act of radical, humanizing protest. It offers a stark contrast to the ongoing suffering of her people, making it an even more poignant expression of her identity and pride.
Artists like Hasan carve out their space in a world dominated by commercial sound and sentiment, and it's this independence that allows for creative risks and authentic vulnerability. Her viral moment was a gateway to a much larger artistic vision that allowed her to not rely on a major label gatekeeping her success. This is the still-democratizing power of social media: pro-Palestinian artists who would normally be marginalized by corporate interest are now given a platform to share their message. In this case, Verbathim proves that social media virality can shine a spotlight on truly deserving artistry.