The musical attack that gathers throughout "When Time Fades" is anything but your typical Dream Theater clone as one might anticipate. Quasi-speed metal riffs, jazz sections, scores of solos, symphonic keys, atmospheric complexity with some mid-paced material beside a lot of Cynic-ish instrumental divisions are present, but only represent a fraction of what Suspyre's nearly-indescribable frontier has to offer. "Possession" explores a vibe of technical marksmanship once the music displays a unique plethora of mid-tempo riffs and melodies weaving in and out of each other with really no cohesion, but it paradoxically makes Suspyre seem both genius and insane. I don't believe it is nevertheless ironic that the whole album also retains a melodic passiveness and catchy overtone, which, although not dominating, promotes addictive ether alongside this evolutionary journey. Its sound reveals countless coils and weaves into territories present and unknown. All in all, Suspyre's image is remarkably superb.

"When Time Fades" also portrays brilliant thoughts when discussing the idea of experimentation in progressive music, quite beyond what I could have expected. Saxophone solos are shockingly common alongside Suspyre's vertigo rhythm sector during "Evolutions" and others, but a lot of their arrangements are likewise atypical. For example, nothing causes a surprised reaction like the beginning of "Apparitions" in which surpluses of sporadic keyboards collide and bounce off raw, heavy riffing. Sometimes things go too far into left field: "Reign," for example, is a very good track, but the band decides to toss in a folk jam with a mandolin section for whatever reason. Relevant? Maybe in another universe, but that small fragment is nothing to get choked up about; everything else is pure experimental gold.

Of course, Suspyre's illuminated approach creates a wide spectrum of material in which nothing sounds akin. The record finally climaxes after an hour of majestic incantations with "Let Freedom Ring," a riff-based epic exhibiting Suspyre's dynamism, mathematical technicality, zesty experimentation, and terrific craftsmanship perfectly, mystifying under this unusual rotunda without fault. The ten-minute piece "Siren" is the only song that puts me in snooze-town, although I do enjoy the female vocals and Clay Barton's vocal incantations; however, Suspyre's musical attack is too fluffy and clearly contradicts the album's maniacal infrastructure. The remaining tracks provide nutrients, and stand alone with any need for neither physics nor time.