Yeule has released their new album – Glitch Princess – available everywhere today. It is a conversation about their experiences with sobriety and the consequent flood of emotions that they experienced. It’s an undiluted redirection of this emotional energy that is both haunting and comforting in equal measure. Listen to the album everywhere here.
Non-binary, London-based painter, musician, performance artist, and cyborg entity Nat Ćmiel – aka Yeule or The Glitch Princess – has today released their new album Glitch Princess. Glitch Princess is a futuristic-infused record from start to finish – part of the glitch genre, Yeule infuses the human and cyber elements with ease. It is a fulfilment of the potential that they established on Serotonin II, a total fusion of these elements, building a human universe within the cyberspace. It’s deeply futuristic yet with elements that feel immensely current too as Yeule takes you through their innermost thoughts and psyche. It’s clear that Yeule has really found their home on Glitch Princess, it is a more polished and honed version of Serotonin II from the sequencing to the fusion of these futuristic and modern elements on the record, infusing glitch and distortion effects with ease and layering their music with a richness that is intoxicating.
‘My Name is Nat Ćmiel’ that begins the record is perhaps the most jarringly futuristic element of the project, as Yeule examines their innermost persona, thoughts and feelings, before leading into the more current feeling and atmospheric track ‘Electric,’ blending the two on ‘Flowers are Dead.’ Yeule appears to fall back on a childlike video game feel on ‘Eyes’ before indulging their stormier, haunted inner psyche on ‘Perfect Blue.’
Yeule is known for breaking boundaries and expectations and Glitch Princess is testament to that resolution. For fans of their music, there is much here to love and they have translated their material to a much wider audience on this record than on Serotonin II – there is an ease in translation and universality of the tortured emotions, hope and healing that feel more profound than their previous works – from the insecurity of the hauntingly childlike track ‘Eyes’ and the plaintive ‘Don’t Be Is Hard on Your Own Beauty to the frantic nature of ‘Too Dead Inside.’
