The city state of Singapore is known for a lot: banking, travel dehydration and a particularly strong love for order and cleanliness. But counterculture was not part of it for a long time, even if it always existed. Until Yeule suddenly appeared at some point in the mid-2010s: a child of the Internet, the hypertext, inspired by Avril Lavigne and Emo and Radiohead.
Everything side by side, but together a kind of high-concept cyber-bedroom pop. On the fourth album of the futuristic music project, Yeule continues with songs such as the fantastic “Skullcrusher”, the development of Grungy Alternative Rock, which had already been emerging on the celebrated predecessor SoftScars.
But at the same time, with songs such as “Tequila Coma”, she creates triphop worlds, which are reminiscent of Portishead or massive attacks in the 1990s with her eerie sweetness-and almost naive-demanding poppers such as “VV”, “What3vr” and the radiant “Dudu”. What they all unite: the absence of autotune, the absence of the glitch aesthetics, for which the self-proclaimed “Glitch Princess” stood for a long time. But understandable: If everyone sounds the same with AI tools, Yeule goes the precisely opposite way. And mainly remains: unique.
You can find out which albums were still published in May 2025 via our monthly publication list.