Album Review: Glitch Princess by yeule

Find myself, lose myself, be myself, fuck myself Yeule is abstract and real. Feelings are abstract and real. Music is abstract and real. Music is so powerful because it imitates feelings in the Aristotelian sense, brushing their deepest impulses against the shallowness of our sensory reality. Good ….

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They represent the future of the glitch genre -- a complete artist who's half human, half cyborg. Having had a difficult childhood, yeule almost ended up becoming a "hikikomori" (people who are totally socially isolated) but they have managed to stay alive through augmented reality and the internet where they have found solace. Their nature and musical imprint is totally derived from their past experiences.

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In the last decade pop has changed immeasurably. There's been a move away from centrist BIG pop behemoths making widescreen mainstream anthems incorporating all the shiny signifiers used since at least the dawn of the MTV era, to a more fluid, diverse and altogether stranger and more experimental sound led by a vibrant generation of Gen Z kids who have grown up online and for whom there are neither boundaries nor limits. Pop takes whatever form they want.

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The self-proclaimed Glitch Princess, Nat Ćmiel, better known by their stage name yeule, is a non-binary London-based painter, musician, performance artist, and cyborg entity, who, with this album, opens up a channel into the in-between spaces to make sense of their identity, which straddles both digital and human landscapes. Dripping in error messages, glitching computer code and introspective melodies, yeule guides us through their intense and complex connection to virtual realities and the real world as we know it. Glitch Princess maps the artists' struggle with the push and pulls between their digital vs.

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