{"id":398,"date":"2023-09-29T22:05:59","date_gmt":"2023-09-29T22:05:59","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2023-9-29-on-softscars-yeule-brings-out-the-inherent-humanity-in-artifice\/"},"modified":"2023-09-29T22:05:59","modified_gmt":"2023-09-29T22:05:59","slug":"2023-9-29-on-softscars-yeule-brings-out-the-inherent-humanity-in-artifice","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2023-9-29-on-softscars-yeule-brings-out-the-inherent-humanity-in-artifice\/","title":{"rendered":"On Softscars: Yeule Brings Out the Inherent Humanity in Artifice"},"content":{"rendered":"
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Graphic by Julia Norkus<\/p>\n<\/div>\n<\/figcaption><\/figure>\n<\/p><\/div>\n

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By Bennett Himmel <\/h1>\n

For nearly a decade, London-based artist Yeule has been making detached ambient pop from the perspective of either an AI who\u2019s starting to feel a little too real or a human being that\u2019s becoming a little too online. On their 2022 record Glitch Princess<\/em>, they opened with a monologue, their voice glitching as they sputtered, \u201cI like making up my own worlds \/ And the people who live inside me.\u201d Yeule represents an interesting figure in the hyperpop canon. They are clearly very smart, intensely committed to living out their art and character, yet their music tends to fall a little bit flat for me. <\/p>\n

Yeule\u2019s voice was often cloaked in Grimes-esque reverb and Charli XCX-like autotune and placed over pillowy, crystalline synths and muffled house beats, the songs consistently threaten to explode but rarely do so. On paper, this shouldn\u2019t pose an issue for me\u2014 Grimes and Charli are two artists I hold in very high regard and I tend to love soft pop music that bubbles under the surface. However, in the case of Yeule, while I found their cyborg concept, visual aesthetics, and sonic vibes incredibly enticing, their songwriting sometimes disappointed me. Yeule is a lyricist who tends to work in little couplets\u2014tiny, wry, oft gory one-two punches that usually elicit a chuckle, but occasionally, an eye roll. \u201cI’m sorry I don’t feel good \/ I’m sorry I’m not so keen on food \/ But don’t tell\u2005me\u2005about my fate \/ Don’t\u2005tell me about my weight\u201d is harrowing, sure, but perhaps a bit on the nose.<\/p>\n

On their latest record Softscars<\/em>, Yeule made some major changes. While their previous albums have been synth-heavy pop music, their new record is undeniably a guitar album. The entire album is a huge \u201890s rock throwback, as indebted to Slowdive as it is to Avril Lavigne. <\/p>\n

Opener \u201cx w x\u201d is a raucous banger, with Yeule\u2019s voice taking on a whinier, raspier, overall more emo sound, but still dripping with autotune and the effect is intoxicating. \u201cPretty boy psycho, sicko boy psycho \/ Let me guess, let me know, borderline overdose,\u201d they groan. Lyrically, not much has changed, but sonically, this is an entirely new palette that informs their emo-kid poetry much more comfortably.<\/p>\n

Much of Softscars<\/em> deals in sentience. In essence, it\u2019s a collection of love songs from someone who is learning how to feel and open up. This is a concept that can resonate with many people, however Yeule puts their own cybernetic spin on it. Soft ballad \u201cghosts\u201d is a collection of silk-sheet sweet nothings, \u201cI was in love with a pop star \/ Crumbling down over bloodshot crushed eyes \/ I was impressed by his fucking \/ Like in movies, all in bloom, break the camera,\u201d but builds to a climax where many elements of the mix drop out, the autotune intensifies, and a soft breeze is passed through Yeule\u2019s vocals\u2014 \u201cIf only I could be\u2026real enough to love.\u201d <\/p>\n

The title track is a sweaty, lightly horny piece of dream pop, containing my favorite couplet of the record: \u201cYou stabbed me right in the chest \/ You made me bleed, you made me wet!\u201d <\/p>\n

You can practically hear the smirk in Yeule\u2019s voice. <\/p>\n

At its core, this is a \u201cI\u2019m In Love With The Bad Boy\u201d song, but something about Yeule\u2019s turns of phrase and breathy robotic vocals make the song feel intentionally uncanny, like a robot gone rogue.<\/p>\n

The record is a little bit frontloaded. Most of the singles are towards the beginning, and they are probably the best tracks on the album. After the pretty, but ultimately unnecessary interlude \u201cfish in the pool,\u201d things slowly decline. The last truly fantastic song being the slow-burning \u201cSoftware Update,\u201d containing one of the most honest lines on the record, \u201cTwenty-five, traumatized \/ painting white on my eyes.\u201d It\u2019s a moment when Yeule completely forgoes character, something we\u2019ve never really seen before. It\u2019s the most human line on the album and it\u2019s ironically on what is probably the most robotic track.<\/p>\n

The album\u2019s final stretch is smart sequencing\u2014 they throw in one final banger, \u201ccyber meat\u201d, that would be insanely fun if not for some slightly trite, teenagery lyrics\u2014although I feel that may be the point of this track\u2014then end on a soft note with \u201caphex twin flame.\u201d The song is an effective closer sonically, it\u2019s beautiful, but doesn\u2019t really contain any sort of thesis statement for the record, no \u201cmoral of the story\u201d. <\/p>\n

But the real thesis statement for Softscars<\/em>\u2014and Yeule\u2019s career as a whole\u2014 is found on shoegaze-infected cut \u201c4ui12.\u201d The point is made with two simple words: \u201cArt, artificially.\u201d <\/p>\n

Nothing seems to fascinate Yeule more than the digital age and A.I.. They once stated in an interview that they at one point considered having their social media continue to algorithmically update after their death. Yeule is intensely interested in serving something incredibly, undeniably human through an uncanny lens. Softscars is their most interesting, human and ultimately best work to date\u2014but the ghost isn\u2019t out of the shell yet.<\/p>\n

\u2605\u2605\u2605\u2605<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Yeule is intensely interested in serving something incredibly, undeniably human through an uncanny lens. 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