People, you must all understand on the first hand that this record is not meant to be an dance album. Although some might disagree, I, like a million other trance listeners in the world, embrace this kind of music for the 'peace of mind' which they provide. And sure, the flow of the CD would be considered danceable to many, yet I just don't think that's what Oakenfold intended here (Afterall, it's entitled "Another World"). Oakenfold dazzles his audience by creating a genre-bending soundscape of beautiful trance, eerie gothic choir, soundtrack, and remixed rock (Led Zeppelin). This is exactly the type of album that I've been anticipating for years, and I personally think that it deserves a place in the New Age section of record stores.
I initially would've given 6 stars to this album, just for the ground-breaking concept. But having owned the CD for about six months now, I'll point out few minor complaints that kept this from becoming the best trance mix ever.
One: the use of three rather similar vocal trance tracks on disc 2 ("Song to the Siren", "Flesh", "The Silence"). Two: the over-promotion of Perfecto records.
The first complaint might just have been the matter of taste, but I personally thought that using those three tracks were unneccesary. I liked how CD2 opened up, with the mesmerizing building strings of "Music", followed with Salt Tank's rebuffed 1996 classic "Eugina". The use of "Song to the Siren" as the third track seemed to create a opening for a possible new direction that would launch the set into greatness. Yet, the flow temporary dies there. Oakenfold follows the track with a unusual subliminal techno beat of "Back and Front"; and by the time he brings out "Flesh" (the second vocal track which I mentioned), I was left asking myself 'Again??'. Even worse, his dicision to close the set using DJ Tiesto's cheesed up "The Silence" (the third vocal track) suddenly changed the overall feel of the CD almost similar to Gatecrasher or Ministry of Sound. (Luckily, the Bladerunner soundtrack and Lisa Gerrard inserted in the middle of the set prevented it.)
The second, and the greatest problem, was the over-promotion of Perfecto records. Being Oakenfold's idea or not, the seeming obligation to promote Perfecto somewhat hindered his creativity. (There are a total of 4 Perfecto tracks; two in each CDs.) Especially in CD1 (which I enjoy more than CD2), the two Perfecto tracks, "Ubik" and "Bullet in a Gun", were the only songs that didn't quite go with the overall flow. Timo Maas's jagged "Ubik" is way too harsh to be on the album. Oakenfold manages to mix the track into Zeppelin's "Babe...", but is then forced to scramble to return the set back into the right orbit (which he successfully does, using LSG's ambience "Into Deep" as a transition-fader background).
If you want to jump around, or listen to the likes of Judge Jules or Pete Tong, definitely don't buy this.
If you enjoy the futuristic and educated sound --the DJ likes of Dave Seaman, and producers such as Way Out West-- then this is for you.