YEULE Vinilo y CD

Review: On their third LP, British-Singaporean singer-songwriter Nat Cmiel is moving in a new direction - not only with a move from Bayonet Records to Ninja Tune, but also favouring a guitar-led indie rock sound, a departure from the critically acclaimed 'Serotonin II' and Danny L Harle produced 'Glitch Princess'. Lead single 'sulky baby' is a bright affair, distorted guitars circling Yeule's brand of gloomy lyrics sang with a smile. 'dazies' gets off the mark with a killer electric guitar lead, giving way to a plucked ambience with a computerised Nat ringing off a word association of a person kicked to the curb. When Kin Leonn isn't working their production magic, Yeule's self-production breaks the space. 'fish in the pool' is an ambient piano interlude with light-as-a-feather vocal adlibs, something that wouldn't be out of place in a Studio Ghibli production.

Review: The tide of (hyper)pop has ebbed into increasingly emo and indie directions and the frothiest edge of this fluid movement is perhaps best represented by the latest album from Yeule (Nat Cmiel). Softscars follows up Yeule's 2022 album Glitch Princess and continues the trend of ultra-glossy, CD-reflective, knife-edge sounds packed into the blueprint of downtempo dream pop, in which said gloss reflects Cmiel's own personal experience of healing from trauma. The likes of 'ghost', 'dazies' and 'sulky baby' are giving glitchy alternate-reality Green Day in their Boulevard Of Broken Dreams era, with a dash of ejector-jewel-cased lyrics and a sprinkling of George Clinton-esque production flavour.

Review: The third full-length studio album from Singaporean singer-songwriter-producer Nat Cmiel (aka yeule) released to rave reviews earlier this September, following an ethereal rollout with singles 'dazies', 'ghosts' and 'inferno' showcasing exactly what yeule excels at: worldbuilding. 'softscars' is now the 3rd instalment in one of the most exciting album runs in modern alt-pop, shifting away from the glitchy, electronic ambience of predecessor 'Glitch Princess', moving in a more rock-centric, brighter direction. This isn't to say the album doesn't have its soul-crushing moments, opening track 'x w x' closes with a defiant scream of frustration, whilst the drums, guitar and synths fight each other for dominance - bottoming out into a gentle outro sequence. The calm after the storm. We could go on about this album for hours, as a yeule fan it feels so fresh but so perfect with it's oscillating directness in delivery. Whereas 'Glitch Princess' felt like travelling through a clastrophobia-inducing tunnel at time, 'softscars' is that moment you burst out of the tunnel and are hit with a huge green vista. It's my album of the year but, hey, what do I know?