"For Nat Ćmiel, Yeule isn't just an artistic alias; it's a cyborg entity that the self-described "glitch princess" uses to help foster a post-human world unbound by identity and gender. Musically, Yeule has manifested as a ghost in the machine: a gentle, computer-processed voice singing deceptively dark songs about the melding of the visceral and the virtual amid glitchy soundscapes inspired by the turn-of-the-century sounds of electronica and trip-hop."
""I used to be quite an optimist when it came to tech development," Ćmiel says over Zoom. "I am now quite ... I don't want to use the term nihilist ... but, yeah. ... We're all going to die, and everything's going to take over. We should just succumb to it all and let it take us, because it's beautiful.""
Nat Ćmiel performs as Yeule, a cyborg entity and self-described "glitch princess" that envisions a post-human world freed from fixed identity and gender. Yeule's sound features a gentle, computer-processed voice delivering deceptively dark songs that fuse visceral imagery with virtual textures over glitchy electronica and turn-of-the-century trip-hop influences. Ćmiel, engaged with digital culture before current AI fascination, expresses a resigned, optimistic-nihilist view of technological takeover. The album Evangelic Girl Is a Gun explores data destruction, burning pixels, bodily fragmentation, modern fame and the costs of mediated existence, drawing on cinematic body-horror and bossa nova inspiration.
Read at The Washington Post
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