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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 Whang's effervescent vocals, DFA's 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 Konk's "Your Life."

Rong Music's 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 tourist's 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 Maclean's 4/4 beating heart may just be human after all.

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After three seminal electro-dance singles, we see yet another angle of Juan MacLean on this latest release, titled perhaps a humble nod to our Teutonic electronic godfathers. "I Robot" takes a subby acid-tinged Trans-European trip down the Autobahn (or maybe some crappy Midwestern freeway). Frantic synth lines weave from lane to lane, and analog bleeps remind that the Polizia aren't far behind. As the song reaches its midpoint, the drums slow, a choral sample rises, and utter paranoia blindsides us. Tough and gentle at the same time, it is techno that can be played in the club, in the car or in the bedroom.

"Less Than Human" should calm you somewhat. It is many years later and Richard D. James sits in the passenger seat, the English countryside speeds past the Ecstasy-fueled Mini. Juan remembers when techno was analog and innocent and not made on a Powerbook with patches-- barely.

Both tracks also appeared on DFA Records Compilation #2 and will not be on the Juan MacLean full length debut album, due in early Summer 2005.

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