Oakenfold has been slammed recently (past 2 years or so) by many of the true trance fans. He's been accused of using the same songs/sets for too long, lacking in innovation, and basically turning out stale sets. I have had the pleasure of seeing Oakenfold 3 times in the past year (which is uncommon in the states) and I must say that each set was COMPLETELY different, and he really did a great job of working the crowd. I believe that a lot of the bad reviews oakenfold has been receiving are directly related to his attempts at "breaking" the US. He's repeatedly stated that he's trying to break trance into the US mainstream, and, face it, it'll take trance with a pop-edge to do it. Hate the man for it if you want, but he's the only one with the mass-appeal to be able to pull off such a monumental task. And no matter what he's churning out, anyone who has listened to Oakenfold knows that at any given time, he could put out the most revolutionary, mind blowing, industry changing album ever put to wax. He IS the most talented DJ ever to grace the decks, he's just busy with another project. So, I give this five out of five stars. For it's purpose (popularity and the growth of trance in the US) I can't think of a better selection.

Question: WHAT IS UP WITH TECHNO THESE DAYS? Last year was such a good year but this year's such a dud. It seems even our most famous and well-respected mixers are getting lazy! Paul Oakenfold in particular. Voyage Into Trance and the soundtrack to Swordfish were all disappointments with a couple shinning through in the darkness, but this just threw me for a loop. With the exception of Jan Johnston's "Superstar", The Realm's "This Is Not A Breakdown", and the remix of Prodigy's "Narayan", CD1 was just insipidly bland and full of non-stop breakbeats. I knew from the opening song that I was in for another let down by Paul Oakenfold, which hurt me greatly because I know from previous albums that he's capable of so much more. CD2, though, is a whole other story. World Clique's "Different Signs" pulled me into a deep trance, just like his older CDs have done in the past which leads into the fabulous remix of Depeche Mode's already trance-driven "I Feel Loved." I also like the drum effects on A-Nilo's "Summer Song (Be My Friend)." The overall feel of this CD is an exhilerating high that I've since been denied of this awesome DJ since his flawless "Perfecto Presents Another World." It's also amazing how he can remix a song in which I care so little for - "Beautiful Day" by U2 - and transform it into something I can't get enough of... "Silent Words" by Jan Johnston is another one of my personal favorites (I heard rumor that she's soon to release her own album) and PPK's "ResuRection" which eerily closes with flashes of spacey sound clips.

Don't expect another "Perfecto Presents Another World" but this is definitely better than some of his more recent works....

CD 1 receives 2-stars and CD 2 receives 5-stars

I was highly anticipating the release of "Paul Oakenfold Ibiza." I've been a die hard Oakie fan since "GU: New York" and "Tranceport." And "Perfecto Presents Another World" was nothing short of his masterpiece.

However, upon my first listen of "Ibiza" (innapropriately titled), I knew something was amiss. Curiously absent from this two disc set were the sweeping, epic tracks that have in the past, truly "tranceported" the listener to "another world."

Replacing them were dull, trite, and tiresome cuts that were completely unimaginative and totally uninspiring; Ibiza indeed...

CD 1 begins with promise. John Creamer's remix of Nat Monday's "Waiting" and "Megatron" by Flash are the discs only true progressive moments. Track 6 crosses over into breakbeat. This style has it's place but I for one do not wish to hear it as the trance/house momentum is beginning to build on ANY CD or in ANY club. TOTAL TRAINWRECK! Oakenfold does, however, end the set on disc 1 with a very nice touch by mixing in Prodigy's darkly, atmospheric "Narayan." CD 2 disintegrates into total flotsom and "Americanized" cheez with the inclusion of Tenaglia's mix of Depeche Mode's "I Feel Loved" and the overbearing, in your face Perfecto remix of U2's "Beautiful Day." Depeche Mode happen to be one of my favorite bands of all time but I DO NOT want to hear them remixed on a Paul Oakenfold CD or ANY other "dance" CD for that matter. And as for U2, could Oakenfold get any more nauseatingly commercial by mixing this tripe? Give us all a break and leave the industry fodder on the radio where it belongs. The mix worsens with the saccharinely sweet bubble gum eurotrance of AB/DC's "The Feeling." Upon hearing it, I felt as if I would throw up...

A couple of standout tracks on disc 2 are "Sepia" by rising progressive DJ Max Graham and the Solar Stone remix of Jan Johnston's "Silent Words." These two cuts should have set the example for the entire set and not been tacked on towards the close of disc 2 in some despearate efforts at redemption.

I'm losing more and more respect for Oakenfold all the time. Perfecto, it seems, has become yet another giant record making machine, churning out remix after boring, dour remix to any listener who'll snatch it up for purchase simply because it has the Perfecto moniker attached to it. Could Perfecto be headed the way of Brittany Spears and the Back Street Boys? Let's certainly hope not.

I wouldn't accuse Paul of selling out (yet...)but If this is Oakenfold's method of attempting mass market crossover, I'll stick with the Boxed Boys at Global Underground any day...

If you want a CD set charged with industrial trance rhythms and bangin' progressive house, check out Lee Burridge's NU Breed CD. It will leave you breathless an completely astonished.

Even though Oakey is making a strong comeback with his latest album "Creamfields" (highly recommended), this album, along with Bunkka, typifies why this extrodinary DJ has received a very bad rap of late. Don't get me wrong, I love Oakenfold, but his meteoric success has the unfortunate effect of selling out artistry for commercialism. Since 2001 or so, Oakey has become more of a franchise than a DJ, selling pop remixes, soundtracks to Playstation games, and hobknobing with the likes of Justin Timberlake and U2. I can understand why many of his fans abhor him for trying to make a buck at the expense of quality.

Ibiza is substandard Oakey, with cheesey songs and average technique. It sometimes makes me wonder, if an amatuer DJ would have cut this set, would it be called "brilliant"? However, since this ablum is from Mr. O, he has to present us with a gem everytime. Anything less is cheese. Oakenfold and Tiger Woods suffer the same malaise of extreme public expectation.

I also want to take note and ask why are record labels slapping "Ibiza" on everything that is related to dance?? A once-unknown island getaway for E-trippers and Euro-candyravers is now the self-appointed Mecca of dance music?? Just because an album has Ibiza on it does NOT guarantee a masterpiece. In fact, I steer clear from any album that mentions any reference to Ibiza. Otherwise, I am in for a guaranteed chedder-fest.

I am so glad that Oakey has reinvented himself and is returning to his roots and craftmanship. Although Bunkka, Ibiza, Great Wall, and Swordfish all represent a watered-down, commercial doppleganger of Oakenfold, these albums nevertheless are an important transition period in the history of the world's most influential DJ of all-time.

If you are following the chronology of Oakenfold, do yourself a favor, get everything from 1994-2001, especially the Cream sets, ending with Travelling (excellent CD BTW), skip everything after that, and start over with Creamfields. Your ears will respect you in the morning.

I saw Oakey live recently at a Tsunami benefit. Da brotha still got it!

While at my local music and book store, I went to the magazine section to pick up a copy of BPM. "They said Oakenfold's the #1 DJ in America... it's ridiculus" called someone reading another magazine. He doesn't seem to be the only person who feels this way. Recently, a wave of Oakenfold hatism has spread across many of the trance and house faithful. This CD, Oakenfold's most recent "real" album shows why this is so. This CD is quite disappointing, with repititive and unoriginal songs trying to blend with a level of "originality" that seems forced. Oakenfold's been one of the more adventurous DJ's in the past (Oslo CD 1 and Essential Selection Disc 2) but this album is just tired rather than inspired. That's why it maddens so many people that Oakenfold's so big. Excellent DJ's with original styles and brilliant mixing always get the undercard when Oakenfold's involved. I'll bet this CD will sell thousands more copies than Sasha's "San Fransisco" or Digweed's "Hong Kong".