Audiopile Review: Singaporean singer/producer Yeule strikes a major breakthrough on their stridently trip-hop afflicted fourth album, shifting away from the glitched hyper-pop that they’d been solidifying and that landed them a plum spot on the Ninja Tune roster. Siphoning the pop essence of 90s chill out acts like Lamb, Sneaker Pimps and Hooverphonic, Yeule’s torch-y vocals, no longer muddied by a netting of FX, out yearns their predecessors while floating among an effervescent flicker of breakbeats, pedal-heavy guitar and a bedroom ambience that made their appearance on the I Saw The TV Glow soundtrack such a memorable moment. Can’t say Yeule’s earlier releases really needled their way into our listening rotation the same way that Evangelic Girl Is A Gun is gearing up to do.

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yeule, the cyborg alchemist coalescing the soundscapes of glitch-pop electronica, alt rock, and trip-hop. After their breakthrough sophomore album in 2022, Glitch Princess, Nat Ćmiel crystallised their place as alt electronica luminary with their boundary-breaking 2023 album softscars. Both albums were named Best New Music by Pitchfork with the latter lauded as a “riotous, high-energy journey” by the Guardian. With their forthcoming work, yeule paints us a picture with divine poise: fragmented shards of their persona non grata, or “darker side,” pieced together as the painterly fatale who burns through the canvas of post-modernity. With visual artworks captured by artist Vasso Vu, Ćmiel is seen here tethered to their role as a “painter” before performer. yeule, reincarnated again as a haunting facsimile of their past in Evangelic Girl is a Gun. Ćmiel paints an homage to the artist’s role—an artist that illuminates the neon glow of an ego death, and the transformative forms of love, immortalising in our physical reality, their dream within all dreams.