Norrisette presents the spine-tingling, insidious experience that is her latest single ‘Wild Being’


Bizarre. Addictive. Anything but forgettable. I offer you these three sentiments; safe in the knowledge they should provide enough intrigue for you to go and experience this single with your own ears. You want more? Well you asked for it.

This has been the year of change for me; of growth. Whilst I can boast to have genuinely enjoyed seeing live electronic music for the first time this year; of course an expert this maketh me not. No, I’m just a sad boy, who likes sad guitar. So it is from this lens I evaluate Norrisette’s latest abstraction ‘Wild Being’. There is no sad guitar in this song, so give me a little leeway here.

Wild Being’ knows not, nor cares, for tradition – and the same could easily be said for Norrisette herself. On-stage she’s larger-than-life, dressed impeccably in an eccentric style completely her own. On track, expect nuance and innovation – and here this trend is continued fittingly.
I could draw comparisons and justify them – maybe the playful robotic noises remind me of Autechre’sSlip’ or the glitchy charm of Aphex Twin’sFunny Little Man’, the sorrowful vocal delivery of Arca’s Piel’.  But no, I’m instead going to reference one of the more cliche parts of Greek mythology and a film originating from the late 1970’s. Hope that’s ok with you.

The song starts by channeling the haunting beauty of a siren – intimate and inviting. Soon her voice is harmonised, joined by a bit-crushed imposter, and demonic whispers not too long after. Her approach to vocal production on this track certainly draws comparison to the atmosphere present in the horror film ‘Suspiria’ – starkly contrasting the harmonious with elements of the disturbing. It’s latter section then fully embraces the industrial, evolving into the revving of electronic engines, resonating underneath what sound like human-made meows – finally a child-like shriek drowning in modulation sends you into oblivion. 

Normally I find myself drawn to the drum sound of any particular track, like a vampire to the sanguineous. However here the bass drum serves a more passive role, and inhabits a fairly familiar “house” sound, subby and warm. Yet it serves purpose well, allowing Norrisette’s trademark frolics with absurdity to dominate the texture – in a hypnotic, yet not overpowering manner. There’s a particular vocal motif, you’ll recognise it when you hear it, that I find particularly addictive; mildly demonic but satisfyingly so. Self-identifying as a “gremlin”, this song definitely fits that aesthetic. Maybe we need more gremlins in music??

Wild Being’ is dance music at its most intriguing, managing to move your body whilst carving a narrative that permits it purpose outside your local club/basement. This is a strong statement of intent, however weird and wonderful that intent is. Here Norrisette proves herself an artist abundant with both talent and vision, and this track is a more-than-welcome addition to her compellingly eclectic back catalogue. 

Photo credit: Norrisette

Artwork: Norrisette

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