Another World

Disc 1
1	The Host of the Seraphim / Dead Can Dance from the Baraka Soundtrack 0:59
2	Majestic / Tone Depth 6:03
3	Take Me Away / Chilled Eskimos Circulation Mix 3:02
4	Babe I'm Gonna Leave You / Led Zeppelin The Quiver Mix 6:11
5	Ubik / Timo Maas Dance Mix 5:40
6	Into Deep / L.S.G. 1:01
7	Airtight / Max Graham 11:05
8	Bullet In A Gun / Planet Perfecto Rabbit in the Moon Mix 6:59
9	Darker / Brancaccio & Aisher 5:46
10	Sanvean / Dead Can Dance 3:22
11	No Way Out / Highland Highland Mix 6:47
12	Bar None / Max Graham 5:24
13	Tears In Rain / Vangelis 2:20
14	Piledriver / Amoebassassin Grayed Out Summer Mix 9:16
Disc 2
1	Music / Tatoine 8:04
2	Eugina 2000 / Salt Tank Progressie Summer Mix 9:05
3	Song to the Siren (Did I Dream) / Lost Witness Fable Mix 8:53
4	Back and Front / Skope 7:33
5	Flesh / Jan Johnston Dj Tiesto Mix 8:28
6	Rachel's Song / Vangelis 3:03
7	Sacrifice / Lisa Gerrard 2:20
8	Animal / Lost It.Com 6:20
9	North Sky / Blackwatch 7:04
10	Silence / Delerium Dj Tiesto's in Search of Sunrise Remix 11:10

Barnes & Noble

U.K. trance DJ Paul Oakenfold must never rest. How else could you explain Perfecto Presents Another World, released mere months after he contributed a full mix CD to Pete Tong's two-part Essential Selection Vol. 1 (the other disc is from Fatboy Slim)? On the two CDs comprising Another World, "Oakie" offers a more contemplative mix than the wall-to-wall, cotton candy euphoria of his past releases, such as Tranceport. Although he includes some of the best new progressive house and trance, the DJ also features goth diva Lisa Gerrard and her band Dead Can Dance, as well as atmospheric moments from Vangelis's Blade Runner score. These orchestral segments contribute to the emotive quality of this thoughtful, yet booty-shakin' mix. Case in point: On disc one, the eerie desolation of Dead Can Dance's "Sanvean" lends a hint of desperation to the driving trance mix of "No Way Out" by Highland that follows. Oakenfold follows this pattern of building and deconstructing tempo and emotion throughout, and still manages to sneak in a surprise or two. The biggest one is Robert Plant's vocals -- and just a hint of the original Zeppelin song -- mingling with a four-four drum kick on a stunning dance floor makeover of "Babe I'm Gonna Leave You." Throw in tracks from the likes of Rabbit in the Moon and U.K. up-and-comer Timo Maas, and you've got another can't-miss effort by Oakenfold. Bill Werde

All Music Guide

Perhaps realizing that the market for progressive trance mix albums was fast approaching saturation amidst a raft of inferior products, Paul Oakenfold displayed a touch more variety with his 2000 edition, Perfecto Presents Another World. Scattered all over this collection are the usual trance producers (Timo Maas, Salt Tank, Tone Depth, LSG) and signings to his Perfecto label one would expect, but Oakenfold also incorporates snippets from more atmospheric sources, including Dead Can Dance and Vangelis' soundtrack classic, Blade Runner. And he even tapped Perfecto stalwart Quivver to apply the trance treatment to Led Zeppelin's "Baby I'm Gonna Leave You," a process that doesn't transform the song as much as it applies a sleek backing to a few of Robert Plant's bluesier vocal lines. Except for these stylistic detours (two tracks from Blade Runner, with one each from Dead Can Dance and the group's vocalist Lisa Gerrard), Another World is the same old trance album. There are a few intriguing anthems that manage to wear out their welcome over the course of seven minutes and up, plenty of breakdowns to maintain attention on the dancefloor, and an overall pleasant sound that simply floats by without making much of a positive impact. Oakenfold is probably treading dangerous ground here, considering that nods to traditional non-dance artists fly right over the heads of his core audience, even while they seem like calculated gestures to those who recognize the references. John Bush

Rolling Stone

Bigger than the two-and-a-half-hour sum of its substantial parts, Another World takes you to a spectral sphere where New Age talks to old rock via the universal language of soothing, steady, stimulating beats. Barry Walters