‘Scintilla’ is Epoq's first full-length release, inviting the listener into a dimly lit sound world where harsh, epileptic drum sequences and dissonant harmonic structures contrast with moments of ambient beauty.

This is gorgeous, moody and melodic downbeat electronica, with challenging approaches to rhythmic structure, the album’s splattering, arrhythmic beats placed behind tight melodic progressions. His music has found a medium between technology and composition, being more structured than contemporary experimental electronic music, yet more concerned with the sound world than classical composition. Highly recommended!

(Sanity Music)

This is a work that has history and myth written all over it. It belongs in that long tradition of electronic works that fuse ambience with static, crafting rich, epic tracks out of sweeping melodies, sampled vocals, and crinkly, crackly beats. It's the kind of work that makes you want to sit back and float around on clouds and watch magical creatures eat each other and crash into mountains.

It reminds me, to some extent, of Boards of Canada's Music Has the Right to Children, only instead of focusing (as B of C do) on the sounds of childhood, Epoq focuses instead on the sounds of electronic music itself. I hear echoes of works of such early electronic artists as Karlheinz Stockhausen, Tangerine Dream, Raymond Scott, Can, Vangelis, and Brian Eno; I hear the echoes of later "pioneers" like The Orb, Orbital, Autechre, Aphex Twin, and Black Dog; I hear the echoes of contemporaries like Bola, Marumari, Aspen, ISAN, Hermann & Kleine, and Phonem. In short, I hear a lot of electronic music's history on this record.

According to my dictionary, a "scintilla" is a tiny amount of something. Epoq's Scintilla is a tiny record filled with a lot of beautiful melodies and memorable moments. It's a good record to listen to on a hot summer day, sitting in a park, ignoring everything around you except the sweeping synths and jagged beats that melt into your brain lift up memories of earlier days and earlier sounds.

Michael Heumann

(Snippeted from Stylus Magazine)