Bansheebeat

Norazia OST

Bansheebeat - Norazia OST

A little over a year ago, Bansheebeat released Techo☆Deluxe on Attack the Music, a perfect home for Bansheebeat’s intricate and compositionally challenging tracks.

Dylan Browne, the producer behind Bansheebeat, gave warm regards in the notes:


Please listen kindly, at the aquarium or arcade of your choice~

The EP rips through five bubblegum rollercoasters, stopping along the way at Uniqlo for a quick shopping spree, and later walking you over to your favorite boba spot. Techo☆Deluxe perfectly blends bubblegum bass with hi-def pop music, as impressively as Trekkie Trax artists like Maxo, and without following any of the rise-and-drop tropes of modern EDM.

A little after that release, Bansheebeat put out a bootleg of the original theme song to the Japanese series Terrace House, a long-running Real World-esque reality show that recently made its way to Netflix. Alongside artist Keikkun’s cute cover art, this version is drippingly saccharine and tugs at the heart strings, reworking “Slow Down”, originally by Lights Follow (Matthew Heath and Grady Griggs), the outside-Japan theme song for the Netflix show.

A year on from those releases, the short score for Norazia, a film written and directed by Cullen Hamblen, is a bit different. Where Bansheebeat’s other music is like a fireworks display, Norazia is more reserved and closer to the chest. The chord progressions are noticeably less saccharine and instead more dramatic.

Especially true for the latter three, these tracks shift from one place to a completely different one coming to the end of the song, pivoting from one scene to the next.

In moments like the beginning of “In the Wilderness / Unknown Destination”, the neon light from his other work shines through, but it’s just one part of the equation, and not a massively dominant role like on Techo☆Deluxe or the bootleg.

“Limbo” is immediate proof of Dylan Browne’s ability to score; a descending chord progression weighs heavier in this opening than other Bansheebeat efforts, eventually giving way to a pulsing, rising bassline.

“Session / Poisoned Memories” is a different side of the score, and a different side of Bansheebeat. Moments like these are as powerful and cinematic as Disasterpeace’s score for Hyper Light Drifter.

While brief, the Norazia score is an alternative timeline for Bansheebeat, one that isn’t a walk through Akihabara. Hopefully it’s not just a one-off exercise, but a direction that will wind up in Bansheebeat’s future work alongside his more jubilant and hyper-dynamic pieces.