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2023's softscars presented a darker, more cathartic side to yeule's music, embracing shoegaze, grunge, and other '90s alternative influences rather than the more atmospheric electropop of their earlier works. Their fourth album, Evangelic Girl Is a Gun, is a continuation of this sound, but also sort of a rebirth or renewed focus. Opener "Tequila Coma" has a trip-hop rhythm which feels gritty rather than easygoing, and it's accompanied by glitchy, longing vocals and a scratchy guitar solo. Other songs match lyrics of desire and infatuation with the strongest hooks yeule has ever written. "Eko" is upbeat alt-pop with a soaring chorus about being unable to stop thinking about someone. "Dudu" contains an extremely catchy, deceptively cheerful-sounding onomatopoeic refrain, as well as scathing verses addressing mental health issues and unrequited love. "What3vr"'s skipping downtempo rhythm sounds as lackadaisical as the song's title, and while the vocals are similarly carefree, the lyrics are sincere in their expression of solidarity and gratitude for a friendship. The fragmented industrial pop of "Saiko" balances erratic beats and wayward feedback noise with gentle, clear vocals. The album's title track is an aggressive club heater which accelerates during the second half, while its sexually charged lyrics examine beauty standards. Finally, yeule watches everything burn down during "Skullcrusher," a sludgy fusion of trip-hop and shoegaze co-produced by Clams Casino. In some ways, Evangelic Girl Is a Gun doesn't feel quite as personal as yeule's previous albums -- the lyrics don't always delve into specific subjects such as dissatisfaction with their own body -- and its sound feels a bit more comfortably retro compared to the dystopian future shock of the previous two albums. That said, it's easily some of their most accessible work, and one of the most potent distillations of their chaotic yet introspective songwriting style. — allmusic