Then again, Erik Rosvold, Sean Flanegan, and the Tipton twins had made such an engrossing effort throughout "DeEvolution" that topping it would've proved very difficult, and calling this a lesser work isn't met with hostility. In fact, Jasun and Troy Tipton still ravage through the gripping patterns with their trademark idiosyncrasies at hand—those being the electric solos of Jasun and Troy's spastic, algorithmic bass lines often doing whatever the hell they want. Flanegan's role is consistently less integral to the whole picture due to the band's tendency to include incredibly simple patterns and musical sequences which lack drums altogether, but his presence is satisfactory nevertheless. Rosvold delivers yet another magical performance, showing once more that his vocals are in prime form when rising against musical platforms both heavy and atmospheric. Overall, very close to "DeEvolution" in shape, size, and scope.

It's sort of an odd album compared to "DeEvolution," however, because the song lengths are grossly unlike those which appeared on the original Cynthesis offering. "Divine Night" and the instrumental progressive lashing of "Convergence" fail to break the three-minute mark, and "A Most Trivial Pursuit," although not too shabby, is barely able to do so; they stick out as being underdeveloped and fundamentally useless. Consequently, the remaining four songs occupy a grand majority of the record's running time, and are, predictably, far superior to the other tracks. The longer anthems give Cynthesis the ability to fully channel their creative energies into one entity, whereas "Divine Night" and company merely show one number of a multi-sided die without expanding the total picture. That said, the fine tracks are very fine indeed: "The Grand Facade" is very nicely done, and "Persistence of Visions" explodes wonderfully when the intensity picks up.