The most interesting and appealing mix I have listened to for many years. I listened to both CD's all the way through twice and then focussed on CD1, listening to it every night for about a week. Now I'm giving the second CD a chance to grow on me and it is working. Some "sections" as they are called, rather than tracks, have clear transitions between the tracks used and others are a continuous though constantly evolving blend of the tracks. There are more moments which grab you on this mix than you can shake a stick at.
Whilst almost perfect, there are a few things which don't float my boat, so if I'm to give a thorough review I need to mention them.
About the last 13 minutes of CD1 is beatless which leaves me wishing a beat would kick back in right to the end. Section 8 of CD1 has an organ track in it which is remiscent of 1970's TV gameshows and, for me, doesn't work in the mix. Also, almost all the vocal tracks in the mix such as "R U OK" don't work for me. On CD2 Carl Craig's "At Les" and the final track "Mare Frigoris" both seem out of place, even in a mix which manages to vary styles brilliantly. Still 5/5 as it's head and shoulders above everything else I've heard lately.

Joris Voorn's Balance 014, while of the same flavour as Hawtin's earlier DE9 mixes, is a completely new species. I think what is important to realize here is the extremely high quality of Voorn's composition for today's world, and this is in no way a slight against Hawtin's work—some of my all time favourite. Every new mix that uses the "build up from loops of existing tracks" formula seems to take a step forward. But with Balance 014, perhaps we have reached the zenith.

What really amazes me is the first mix, Mizuiro. I think my girlfriend described it best when said, "Just when you think you've reached the best part, you find another that is even better." There are several highlights, but for me things get extremely interesting (okay, well this happens a lot in the mix, let's say the most interesting) when you hear the once tired vocal track from Ambivalent's "R U OK?" Seemingly played to death, I heard it here and thought, damn, that's fresh. And then it just really takes off. Voorn put together the most beautiful melodic harmonies and vocals around here.

To be truthful, I listened to the last four/five tracks at least twenty times in one day. I just can't get over what he did with tracks 10 and 11. And herein lies the real mastery of this mix. Amazed, I went through the whole composition track by track. If I thought I was already amazed, I was really in for a surprise. In DE9: Closer To The Edit, Hawtin used a large number of short loops. In DE9: Transitions, he expanded the length of each loop, playing some out at almost their full original length. Tracks fade out and reappear, sometimes only for seconds (the DVD is helpful for this), but they are ultimately all there, playing close to their original form. But with Balance 014, the tracks are mashed up beyond all recognition. Vocals are pitched all over the place and mated to the perfect tune, like a slick shifting four on a vintage car.

I first gave this a thorough one-two listen, but never really found my interest peaked by the second mix. Having now listened to Mizuiro at length, I am sure I am missing something in Midori and will be spending the near future getting myself better acquainted. This very well could be the mix of the year.

It has been a few years now since Richie Hawtin dropped his first DE9 mix which represented a significant step forward for the art of DJing. Taking loops and samples from dozens of tracks and creating something entirely now from the result. You might say that Voorn has done the same but there is one big difference - variety.

Whereas the tracks on Hawtin's mix were almost entirely culled from minimal Techno artists, Voorn takes in Basic Channel, warm IDM, Tech-House, Detroit, Club Techno, Ambient, Soulful House, Wonky and even appearances from Goldie and Radiohead. To take tracks from so many influences and to come up with something this cohesive and engaging was nothing short of genius. Each newly composed 'track' is typically made up of anything between 1 and 8 other tracks showing a dizzying amount of intricacy and intuitative understanding of the kind of elements that can work together in the right hands. He is not afraid to drop in beatless, string laden segments amongst the flowing, constantly evolving grooves. In fact, balance, this the right word for this mix becuase it covers so many different moods without any overstaying their welcome.

Sure, this is a technical masterpiece but more importantly it's a musical one too.