I visited this page expecting to see Joel Zimmerman (aka Deadmau5) credited as a writer or producer for the first track on this album, "Gotta Be Heard". His name is conspicuously absent despite the fact that the track is an almost-exact facsimile of Deadmau5's renowned "Faxing Berlin". The excessive flange filter and hastily added vocal line (seemingly grabbed from a royalty-free samples pack intended for gay house anthems) do little to camouflage the blatant plagiarisation. In fact, the vocals barely match the chord progression of the track on which they are superimposed.

Considering Jules' past reputation of creating the cookie cutters from which other cookies were cut, particularly when partnered with Paul Masterson as Hi-Gate, it is unfortunate to learn that he has apparently been demoted on the production line.

While Mark Knight's solo efforts are often on the cheesier electro end of progressive and tech house, when collaborating with other producers such as Paul Harris, D. Ramirez and Funkagenda the results are much more impressive. Arena is another example of this, however the sound achieved is far from fresh. I wonder what exactly Paul Harris brought to the table, considering that all this track comprises of is a series of samples and techniques lifted from other Knight/Funkagenda tracks with the addition of a riff lifted from a classic trance track released in 1999. The main hook in Arena has been appropriated almost verbatim from Andy Ling's "Fixation", however this incarnation manages to squander the epic tension and release and the euphoria of the original, despite a two minutes plus build-up in the middle of "The Very Festivally Mix". Worst of all, Andy Ling does not appear to be credited.

These tracks are nothing short of amazing. Each is permeated by a unique melody that employs slightly abrasive and discordant sounds, yet imparts a delicate, almost childlike whimsicality. The percussion is similarly deft, using sharp, electronic samples reminiscent of more energetic styles of techno, with the subtlty necessary to suit the mood set by the melodies. The basslines in each track serve to provide inexorable momentum, using rich sounds that aid in creating an almost tangible ambience.

The vast popularity of the track 'Gamemaster' (particularly the Original mix) comes as no surprise when you consider the undeniable similarities it has to two other popular trance tracks of years gone by, specifically Quench - 'Dreams' and Robert Miles - 'Children'. The thunderous, soaring synth that consumes the first third and the tail end of 'Gamemaster' is a lower pitched copy of the main hook of Dreams. The piano line and chords of the operatic vocal sample appearing during the cheesey female narrative breakdown are extremely remeniscent of 'Children'. So despite 'Gamemasters' popularity, it was hardly a groundbreaking track for it's time, and in my opinion remains inferior to the classics from which it was heavily inspired.

I was flipping through my old vinyl collection and came across this most epic of hard trance classics, reminding me of countless clubbing moments where I would join every punter with my fist in the air as the sinisterly psychedelic breakdown comes crashing to an end. One of those tracks that is hard to tire of no matter how many times you hear it. It's also one of the only relatively long hard trance tracks I can think of that manages to maintain interest for the entire duration. Think I might have to give it one more spin... ;)

I found this album to be shockingly bad. A complete departure from deep, epic sounds of old, preferring to make (dare I say) over-produced, easily consumable pop-rock-electronic crossover music that I'm sure will get plenty of playback in malls and hair-product stores for years to come. The commercial nature of this album is clearly evident by the choice of guest vocalists. Forever I will wonder what the 'stolen album' sounded like. Surely not as bad as this...