November 02, 2000

Begins with a strong amelodic distortion from Barber, but he soon abandons it in favor of the muted effect he uses during dnb jams. The jam remains in trance territory for a few minutes more until Sammy begins to incorporate breakbeats. Barber signals the drop into Overture early, but thinks better of it and hangs back, allowing the jam to build to a respectable crescendo.

A catchy, patient dnb vehicle. The transformation back into trance is smooth. Barber’s playing retains some of the weirdness that characterizes Biscuits’ dnb jams long after the rhythm has shifted toward more traditional trance. The build to the Waves peak is excellent.

Barber and Magner immediately lock into a sinister, hypnotic theme. Around 4:30, Magner introduces the Gates of Hell, the distinctive feature of this version. Barber uses a kind of digital distortion effect on his guitar for the next theme, which is equally hypnotic but far more triumphant. It remains very trancey until Barber takes the lead and builds to a gorgeous Confrontation ending.

While both jams are excellent, it is the dub jam that is far more interesting. The lively take on this section is more energetic than typical, dominated by inspired Barber shredding that builds to a monstrous uncomposed peak.