Having read Fierra's review and your response, I felt it would be appropriate to clear up some confusion and then leave a review myself. ;D
About the kick - first of all I don't remember ever offering advice for this track, much less this specific version. Though I like the sound itself, I'm going to have to agree with Fierra here that it's loud, overpowers many other sounds (listen to the sub bass at 2:29 vs. 3:12), and even distorts. That being said, I get the feeling that in this case you believed my advice just because you wanted to believe it - whether that was true or not, though, everyone's opinion counts. I can't be right on everything, nor can anyone else.
I think everything could afford to come down in volume a fair amount, the track peaks almost everywhere except for the break in Audacity. For someone your level this is literally a crying shame - shouldn't you know better by now never to go over the 0 dB limit? I don't hear any distortion either so the track might be squashed as well, it certainly seems so. While mixing, leave yourself several dB of headroom (space between peak levels and 0 dB) and NEVER put anything on the Master Channel until the mix is 100% finished - if something sounds bad, don't blame the overall sound, it'll always originate from your individual sounds after all. Master Channel effects are to be saved for "master"ing, logically enough, and even then should be used subtly without squashing the track too much.
I recognize the following from VEC: the loop in the opening, and clap, crash, FX, and hit (kudos for almost separating it from the second half with the LFO though, I did that once in my PoE remix :D). I also hear many Nexus presets - all of these kill the character of your track. People won't remember this as Kr1z's track - I and many others will hear Manuel Schleis' sounds instead. For this reason I can guarantee this sort of music will never get signed and really could only be "successful" on Newgrounds and similar sites. If that's what you want, fine, but if you want to take your work any farther there's work to be done.
Supersaws are by nature unoriginal - if I were you I would have no more than one supersaw to a track to leave room for more original sounds.
I don't like the idea of your two synths playing the bass role, one as an almost offbeat sub (it sounds like one when the kick's playing) and one as a lighter arp. Why not give the track more character: take out the sub bass synth, then move the arp farther in front and add a new sub underneath. This way you're killing two birds with one stone by cleaning up your mix and making the track more memorable. Of course this is all only advice as you're probably not going to rework the track - right? But apply it to future productions.
I don't like the anticlimax - it's unfulfilling for the listener who has to keep waiting for the peak and it breaks the flow of the track. Buildups lose their effect when you use three (2:40/2:54/3:00 - the last is short but still a build in energy) to reach the same peak after all. I would have managed the energy differently by building constantly in that time, moving onto the peak by 2:58 at latest, adding in the drums right away.
There's a second break that's not really a break at 3:40, all it does for me is kill the energy. It's fine to want variation, but don't try to go for a long track because most Trance is like that - I'm sure the track could have been much more concise and enjoyable to listen to had it been a 4-minute radio edit instead. If you want to go longer, repeat the break-build-peak pattern, instead of just having a breather from what otherwise would be a 2-minute peak.
The composition here doesn't interest me. It's not i-VI-III-VII generic, but it's generic for a Trance track. Aim for something exciting to hear, that doesn't have to strictly stick to a major/minor key, that resolves into itself well. Having only 3 bassline notes also adds to the generic feeling.
Keep at it, Kr1z, and don't let me discourage you TOO much. :) I'd close the review normally but I'm out of spa