Not only the name, but some of the key progressions reminded me of the more atmospheric moments from [The Legend of Zelda's Ocarina of Time]. One of my biggest inspirations is my girlfriend. We like watching animes and playing SNES from time to time, so the combination of Inuyasha and Zelda lead to my new track "Ocarina". I was looking for a title and the sound of the flute reminded her of the flute from Zelda.Germany's Simon Schilling builds "Ocarina" in layers, beginning with an ambient synth note. As it waxes and wanes, a persistent ticking enters the landscape, followed by a couple water drops, followed by their ripple effects. The ticking grows louder. Enter a soft shaker and a distant flute motif. Finally, acidic synthesizer. This is how Schilling builds his cave and I am Tyler Durden's flabbergasted occipital lobe.
He calls it "emotional electronica." Ocarina, due July 1st via Cascine, continues Schilling's four-year foray into the digital jungle. Second track "Lyla" essentially serves as the record's B-side, grounded in its claps, less ambient, and more melodically-driven. Realistically, it could afford to be shorter than its 5+ minutes of shameless repetition.
But the substance of the EP follows this 5 minute, 26 second diversion. The final three tracks on Ocarina are the first track, reconfigured in three different ways. The Field provides a microhouse sampler to start, then Dominik Eulberg emphasizes thematic material by applying the melody of "Ocarina" liberally over trilling synthesizer and stripped-down percussion. D/R/U/G/S's version employs some of the more common tricks, including an underlying wobble and good old melodic transposition.
Just in case you're not enamoured with the track yet, that is. We'll put these "Ocarina"s in a glass case next to Schilling's other glorious time lapses... they're Marla Singer-dangerous.