“Balance” keeps its musical see-saw at equilibrium with equal doses of quality progressive trance and progressive house. The better of the trancey Balance acts include James Holden and Anthony Pappa; Luke Fair, however, places precisely the correct amount of weight on the other side of the proverbial see-saw, creating a thumping house music journey whose merits outshine even the likes of Desyn Masiello’s Balance 008. In fact, words from the man himself speak volumes: “Hey all… finished my Balance CD last week. The mood of this mix will capture the sound of an entire night at a club, a full set from open to close. Every track will be heavily edited to personalize the mix a bit more, with lots of layering to make the whole thing as colorful as possible.” ~Luke Fair

He could not have preached a truth more profound had his hand been on a Bible when he made that statement.

This is the most colorful house release I have heard in quite a while; possibly ever. Disc one begins with sensible track sequences like Voom Voom’s “Vampire Song,” Rich Medina Feat. Sy Smith’s “Can’t Hold Back (King Britt Mix)” & Bioground’s “Smooth Summer Nights”; with this three-song-sequence, I found what is rare in most EDM sets -the instantaneous feeling that the mix is liable to outshine others of its kind with ease. Luke Fair spins an airy, funky and wholly danceable first set with the delectable influence of jazz. Sounding nothing like his “electro-disco fiasco” on Bedrock’s OS_3, the aura brings to mind images of a radiant multi-colored disco ball spinning from the ceiling of a vibrant night club. Though the whole first disc is enticingly consistent, Luke seems to have developed a knack for inserting absolutely perfect two or three-track sequences which segue into different styles of house while still maintaining the mix’s deep, saturated color. Another example of such a transitional sequence would be found in Julien Jabre’s “War,” Tiger Stripes’ “Amphytrion” & Kinka’s “Burnin’.” The mood thus far has been so consistently uplifting and beat-reliant that this section of transitional tracks was a surprise… a pleasant one, because the last section of disc one contains arguably the best selection of tracks on the first disc. To cite examples, David Holmes’ “69 Police” and Heroes for Hire’s “Our House Music” shine like sapphire gems. My favorite track on the disc is the sixteenth track, “Gateway” by Nightriders, whose shimmering saxophone chords bring undeserved pleasure to my ears. Closing with Tom Novy’s “Unexpected” (a fitting title, for this track deviates from the melody set forth by Nightriders in many ways), I cannot help but suggest that disc one of Balance 011 achieves the status of the most addictive and most superb house album I have ever heard.

That is not to say that disc two bears no merit by comparison. On the contrary, it should be argued that the second disc is just as good as the first; such a statement may be too bold in lieu of the first disc’s astonishing composition, though. The second disc ups the ante with a sense of housey “grittiness,” which is in sync with Luke Fair’s personal description of the album: “The mood of this mix will capture the sound of an entire night at a club, a full set from open to close.” Beginning with the same eerie and sexy bass grooves as did “Vampire Song”, “She’s Worth It” slyly breaks through the initial ambient barriers into infectiously throbbing house. Luke finally nails the electro-house vibe he went for with earlier releases that ended up falling short when the adds Francois K.’s “Time and Space.” Undulating synthesizers ensnare the headspace of the listener; by the second track of disc two, there simply is no going back, folks.

The drop of Timewriter’s “Booty Song” illustrates the late-night club atmosphere being fully realized. The liveliest moments of disc two can be found between tracks four and twelve; some particular highlights include “Playing with Fire,” “DJ’s In a Row,” “Footlover” by Lissat & Voltax, yet another astounding 16 Bit Lolitas track “Difficult If Not Impossible,” and finally Klement Bonelli’s “Ethna (12th Floor Mix).” And with such a provocative title, one would expect Marnix’s “FIRE!” to continue the uptempo set forth by so many of the mid-disc tracks; in actuality, it marks the beginning of the slide into downtempo and piano layered tracks suitable for catching one’s breath after such an intense ride into previously unexplored dimensions of house grandeur. “Need To Know”‘s wailing synths mourn the closure of this fantastic set; it is a jubilant mourning – the final recognition of what has transpired during this sonic journey. Humate’s “Curious” is precisely that; a curiously uptempo song at first, finally relenting to the early morning hours with surprisingly articulate and enjoyable piano chords.

Within the last 40 seconds, the echoic female vocals usher out the second disc of what is perhaps the liveliest, most colorful, most purposeful and most addictive progressive House release in YEARS. Luke Fair’s name has arisen in other locations in the world of EDM; he commandeered the third installment of Bedrock’s Original Series (a marginal success at best) and did a decent job collaborating with Desyn Masiello on Yoshitoshi’s “In House We Trust Volume 3.” Even his superb live set with James Zabiela at the WMC Delta Heavy Boat Party in 2004 firmly cemented his name in the scene. In my mind, however, Balance 011 is undeniably Luke’s best effort yet and will likely go down as the best house release of 2007, despite a release so early into the year. To say that Luke Fair fares well would be a gross understatement. I challenge anyone to drop the headphones or mute the subwoofers in the midst of this incredible album. Perhaps the best (house) Balance release to date, Luke Fair is one disco ball whose rotation does not cease until the brilliant colors have blinded the listener with the ecstasy of the genuinely sensational house music that connects the world.

Words: Jamie Woodruff