He considers Emit Ecaps to move Sharp away from the "intersection of ambient and techno" and instead experiment with the rhythms of drum and bass and jungle.

[4] The producer's extensive sound palette on the album incorporates juxtaposed timbres and rhythms, applying light breakbeats to slower-moving ambient textures.

"[7] Writer Tim Barr writes that some tracks, like "Iform", provide "relatively straight" extrapolations of 'midwest techno', whereas others like "Simm City" and "Movement #2" resemble "peak-era Derrick May vibing out on ambience.

[5] "Kairo" begins with elements of ambient music before moving into trip hop territory and then incorporating an acoustic bass line and abstract keyboard work, followed by techno blips.

[4] Reighley says that the musical elements on the track slowly move around each other, citing the "jazz bass, staccato keyboard blips, a smidgen of banjo, the fluttering of double-time programmed drums.

[14] In a contemporary review, Will Hermes of Spin felt that "Kairo" was the album's best track, describing it as a "brilliant seduction" and "among the most visionary 'club' singles of the past year or two."

"[4] Emma Warren of Select noted the warmth and "sense of geographical dislocation" that runs through the album, feeling that the record has a "heart-rendering" core beneath its "strange noises and syncopations."

"[9] Kurt B. Reighley of Trouser Press said that Emit Ecaps finds Sharp "experimenting successfully with the rhythms of jungle/drum and bass culture.

"[6] Charles Aaron of Spin wrote in late 1996 that Emit Ecaps was among several electronic albums that bore "mystifying creativity" from the previous few years.

He wrote that although Emit Ecaps was "[l]ess unrelentingly strange than [Sharp's project] Reagenz, it nevertheless boasted some star-tlingly original moments."