"There is not one single dud on this album, and I recommend it highly to those listeners who embrace the analogue and synth-heavy realms of Ambient, although the heaviness does not lead to submergence here, as it appears in a controlled, oftentimes accurately reduced manner....Millennium (the album) is one of the huge surprises of 2013 for me, and I can only recommend this sÿnthorama to every Ambient fan alike." - Review from AmbientExotica

"Quinn’s album is a lovely set of pieces that tend toward the quieter sound of modern ambient/sound art, like, say, Taylor Deupree’s recent work. The pieces range from extremely delicate (“Slouching Towards…”) to bigger, hazier slabs of scratchy sound art (“Zanzibar” and “Goodbye, Dark Tower”). A couple also have beats, the sub-bass thump of “Somnambulist” and the Aphex Twin-ish IDM of “Dome Syndrome”. An unprepossessing but very satisfying and tranquil release that I’m certain almost any fan of modern ambient will love. Hard to believe it’s free!" - Review from Make Your Own Taste

I vividly remember the events of September 11, 2001. I was twelve years old and home sick from school that day, my eyes glued to the screen watching the explosions in the sky. To this day, I cannot put into words the emotional climate of that day and the immediate years that followed. Everything changed; innocence was lost; and my generation entered a brave new world. Millennium is meant as an expression of these indescribable feelings which still linger in my memory of those satellite years where reality seemed weightless, suspended in a space outside of time.

I did not set out to make an album like Millennium. After releasing my previous album North in 2009, I intended to return to the Erik Satie-inspired electronic piano music that characterized my first release Industrial Parkways (2007). During this time I moved to Rochester, New York and became fixated on making soundscapes that reflected the urban environment around me. I began recording and treating noise from streets, highways, sports stadiums, college campuses, and public parks, attempting to capture the rhythms of city life. Needless to say, this project too fell by the wayside.

Like all good things, Millennium happened by accident. Bored one snowy weekend, I began messing around with some old, unused samples that had been stored on my laptop for years. I used synthesizers to record more elements, experimented with new digital manipulation software, and within a few weeks I completed three tracks – “Zanzibar,” “Somnambulist,” and “Goodbye, Dark Tower” – that would eventually serve as the foundation for the album. Then, all of a sudden, this rush of inspiration vanished as winter turned to spring and it took me another three years to finally complete the album.

Millennium is the most personal piece of self-expression that I have ever created. Some of the elements that make up these tracks are over seven years old; others were recorded just a few days ago in the final stages of production. Bits and pieces from all three of my previous albums have found their way into Millennium. A few of the organic sounds embedded within this album were recorded at my childhood home in Lancaster County, Pennsylvania years ago. The property was sold last year. A number of the samples were produced using an old Yamaha synthesizer from the 1980s. It has since been tossed away. In many ways, this album is the culmination of my life to this point. It bears the imprint of time and process. It is the end of one era and the beginning of another.

This album is dedicated to the fond memories of life at the old house on Mountain Road.

Enjoy Millennium!