The Juan Maclean - Happy House

JUAN MACLEANS PRIMARY CREATIVE MUSE HAS ALWAYS BEEN EQUAL PARTS ELECTRO-DISCO MUSIC AND SCIENCE FICTION LITERATURE, MAINLY PHILIP K. DICK. MACLEANS VISION OF MODERN LIFE, WHEN EXPLORED ON HIS 2005 DEBUT ALBUM LESS THAN HUMAN, WAS VIEWED THROUGH SIMILAR PARANOID EYES. BUT IN 2008, MACLEAN MOVES FURTHER AWAY FROM HIS ROBOT PHASE INTO A UNIVERSE SLIGHTLY MORE OPTIMISTIC AND RELAXED IN SPIRIT. HAPPY HOUSE IS THE FIRST EVIDENCE OF THIS NEW DIRECTION - A WINNING COMBINATION OF NANCY WHANGS EFFERVESCENT VOCALS, DFAS PRODUCTION AND MIXING WORK, AND A BRILLIANT AND RELENTLESS DANCE POP ANTHEM CO-WRITTEN BY WHANG AND MACLEAN. TOURING THE WORLD AS A HEADLINE DJ HAS MADE A NOTICEABLE IMPACT ON MACLEAN. HEARING HIS OWN MUSIC AND WATCHING PEOPLE DANCE TO IT AT LEADING CLUBS FROM DUBLIN TO SAO PAOLO NOW INFORMS HIS MUSIC AS MUCH AS HIS OFT-REPEATED SET OF CORE INFLUENCES PAPERCLIP PEOPLE, DERRICK MAY, THROBBING GRISTLE, CERRONE, BONEY M, AND GIORGIO MORODER. FOR REMIX DUTIES, MACLEAN ENLISTED TWO NEW YORKERS - LONG-TIME DOWNTOWN DJ STALWART PRINCE LANGUAGE HAS MADE A NAME FOR HIMSELF INTERNATIONALLY IN THE LAST YEAR WITH REMIXES FOR THE RAPTURE, ARMAND VAN HELDEN, JOAKIM, STATELESS, AND THE DROYDS. HERE, HE TURNS IN HIS BEST REMIX TO DATE WITH ITS ECHOES OF MUDD CLUB-ERA NYC AND KONKS YOUR LIFE. RONG MUSICS LEE DOUGLAS BLEW UP DANCE FLOORS ACROSS THE GLOBE IN 2007 WITH HIS ALREADY CLASSIC NEW YORK STORY SINGLE, WHICH SEAMLESSLY MORPHED A CLASSIC DISCO SOUND INTO SOMETHING UNIQUELY MODERN AND VERY MUCH HIS OWN. LIKE PRINCE LANGUAGE, DOUGLAS HAS ALSO RELEASED A NUMBER OF SUCCESSFUL RE-EDITS. HIS REMIX TAKES HAPPY HOUSE DEEPER INTO THE COSMIC DISCO/ITALO REALM. BOTH REMIXES ADD A THAT SPECIAL NEW YORK CITY FLAVOR, MAKING THE HAPPY HOUSE SINGLE A DANCE TOURISTS WINDOW INTO THE STATE OF DOWNTOWN CLUBBING IN WHAT HAS ALWAYS HISTORICALLY BEEN THE WORLDWIDE CAPITAL FOR BOOGIE. IT IS NO LONGER AS PARANOID, AS COLD, AS ROBOTIC. THE HANDS ARE BACK IN THE AIR AND MACLEANS 4/4 BEATING HEART MAY JUST BE HUMAN AFTER ALL.

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