The Canadian composer and pianist John Kameel Farah calls his unique way of composing "maximalism". In every second of his music, the complexity of the musical world of the son of Palestinian-Canadian parents currently living in Berlin appears as an organic whole. Farah thus represents a new generation of North American composers. Complexity and narration are not mutually exclusive. His music overwhelms the listener in its power of sound: piano, live produced synthesizer sounds and organ sounds layer up to passages that can best be described as "power minimal". These are replaced by almost "contrapuntal" units into which Arabic melody fragments are woven.

The production of Time Sketches was a big experiment. Starting point of the album is the 12 minutes long composition Fantasia. Within only one month Farah recorded this work and wrote and recorded all other compositions of the album. The work took place mainly at night in the music hall of a home for blind children on the outskirts of Hannover, where John Farah was able to rent a room for the time of production. This contact was arranged through Marina Baranova and Damian Marhulets. The special production situation is reflected in the compositions of the album, which, in contrast to the ecstatic developing Fantasia, focus musically on a very specific mood and scene. Each composition is accompanied in the booklet by an illustration and a text by John Farah

The album was mixed and mastered by Berlin producer Guy Sternberg, who has already attracted attention for his dreamy sounds with Wunderkammer by Michael Wollny and Tamar Halperin and most recently with Tamar Halperin's Satie.