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| quote: | Originally posted by Paradox Lost
I wasn't particularly impressed by this. Basically, it had a strong set of opening tracks, and quickly meandered into dull territory before eventually recovering towards the home stretch (though it felt like too little, too late).
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At first I felt the same way, but after hearing it a couple of times whilst making my review, I discovered that this mix is actually very well crafted and put together. The first 25 minutes are obviously of very high standard, but although the individual quality of the tracks in the next part seems to be a bit less, it's still a case of the whole being bigger than just the sum of each part. It all just flows and grooves together so well, with a few highlights such as that Clubbervision track and Rock The Box. I agree it could be considered as a bit dull, considering the more "contemporary" sounds he uses in the middle part, but he still managed to surprise me with some of the tracks he selected. Like the ones above me already mentioned, the inclusion of so many relatively unknown tracks made the mix sound pretty fresh and innovative in a way. And the part where he lays the To The Top acappella on top (yeah, pun intended  ) of that Max Demand track is just ace. Especially when he then suddenly shifts to the original version of To The Top, just when you thought you'd have to settle with only the acappella. That's some proper dj'ing! And the last part gives just a welcome moment of rest before building up to Fortune Cookie. That transition with Finding Paulette was pretty damn good as well. I really love a well executed harmonic transition, and Pole Folder pulled that one of perfectly!
Overall I thought this was a pretty great compilation. Not legendary maybe, but very good regarding track selection, programming and overall consistency. Pole Folder wanted to make a musical, soulfull compilation that was at the same time aimed at the dancefloor, and he managed to walk that thin line very well in my eyes. 
And on a sidenote. Whilst listening I sometimes got the feeling that he actually mixed this one live on cdj's, perhaps even in one take, without any editing or computer interference? I just noticed a few transitions where he was slightly offbeat for a few moments. I wonder if anyone else noticed that too? If that's the case, I'm even more impressed with this effort! Mixing a compilation live on cdj's is pretty daring in this age dominated by Ableton and other digital alternatives.
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