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Editorial Reviews
Review
An 80's-tinged, modern disco classic, with "The Future Will Come" The Juan MacLean proves his time is now. 5 stars --DJ Magazine
Album of the Month.
Expect to see this on heaps of end-of-year lists - a real modern Disco delight. --Future Music
Album of the Month.
Expect to see this on heaps of end-of-year lists - a real modern Disco delight. --Future Music
Product Description
Includes bonus CD version of the album.
Since the turn of the 21st century, DFA club music maestro Juan Maclean has been laying groundwork. First, there were killer singles, from By the Time I Get to Venus in 2002, to Give Me Every Little Thing, to last year's international club hit and critical year-end favorite Happy House. There was a debut full-length (Less Than Human, 2005); remixes for colleagues like Air, Chicken Lips, Daft Punk, Dave Gahan, and Matthew Dear; international tours with LCD Soundsystem, Cut Copy, and Shocking Pinks; and DJ gigs from Telluride to Tel Aviv.
Now comes the next stage of the operation--album two has arrived, entitled The Future Will Come.
Rather than retreat to a recording studio in Woodstock, NY, and toil in solitude, Maclean brought along Nick Millhiser and Alex Frankel (also known as Holy Ghost!) to lay down parts for The Future Will Come.
The next guideline was revisiting the Human League, reveals Maclean--specifically the lineup responsible for the 1981 international bestseller Dare. The opening bars of Happy House trigger exuberance in packed nightclubs that easily matches the giddy heights of that time-tested synth-pop classic.
Maclean enlisted creative foil and DFA mainstay Nancy Whang (also an agent of LCD Soundsystem), a willing co-conspirator. The very first song we worked on, he already had his vocal part and wanted mine to serve as a counterpoint, she remembers. From there, I could hear the male-female call-and-response.
With these points set, the pair wrote and recorded the album quickly. Rather than elongate ideas into epic 12-inch singles, they strived kept sounds and structures crisp and succinct. Focus was maintained via ruthless edits and repeated spins of SexyBack. The results range from the bittersweet parry-and-thrust of One Day to the android R&B of The Station. At the furthest extreme, the spare, desolate Human Disaster serves as a chilling contrast to the climatic reprise of Happy House.
Polished, precise, fully realized and flawlessly executed from start to finish, The Future Will Come stands poised to disarm listeners in a surprising, rewarding way only certain albums can manage.
Since the turn of the 21st century, DFA club music maestro Juan Maclean has been laying groundwork. First, there were killer singles, from By the Time I Get to Venus in 2002, to Give Me Every Little Thing, to last year's international club hit and critical year-end favorite Happy House. There was a debut full-length (Less Than Human, 2005); remixes for colleagues like Air, Chicken Lips, Daft Punk, Dave Gahan, and Matthew Dear; international tours with LCD Soundsystem, Cut Copy, and Shocking Pinks; and DJ gigs from Telluride to Tel Aviv.
Now comes the next stage of the operation--album two has arrived, entitled The Future Will Come.
Rather than retreat to a recording studio in Woodstock, NY, and toil in solitude, Maclean brought along Nick Millhiser and Alex Frankel (also known as Holy Ghost!) to lay down parts for The Future Will Come.
The next guideline was revisiting the Human League, reveals Maclean--specifically the lineup responsible for the 1981 international bestseller Dare. The opening bars of Happy House trigger exuberance in packed nightclubs that easily matches the giddy heights of that time-tested synth-pop classic.
Maclean enlisted creative foil and DFA mainstay Nancy Whang (also an agent of LCD Soundsystem), a willing co-conspirator. The very first song we worked on, he already had his vocal part and wanted mine to serve as a counterpoint, she remembers. From there, I could hear the male-female call-and-response.
With these points set, the pair wrote and recorded the album quickly. Rather than elongate ideas into epic 12-inch singles, they strived kept sounds and structures crisp and succinct. Focus was maintained via ruthless edits and repeated spins of SexyBack. The results range from the bittersweet parry-and-thrust of One Day to the android R&B of The Station. At the furthest extreme, the spare, desolate Human Disaster serves as a chilling contrast to the climatic reprise of Happy House.
Polished, precise, fully realized and flawlessly executed from start to finish, The Future Will Come stands poised to disarm listeners in a surprising, rewarding way only certain albums can manage.
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Most Helpful Customer Reviews
7 of 8 people found the following review helpful:
5.0 out of 5 stars
What's Past is Prologue,
By
Amazon Verified Purchase(What's this?)
This review is from: Future Will Come (Audio CD)
The irony of the title of The Juan MacLean's sophomore album 'The Future Will Come' is immediately apparent the second the laser hits the spinning disc and the first track fades in. Dusting off an old Korg and a drum machine, The Juan MacLean sound as if they've locked themselves in a room with Human League and Heaven 17 LPs circa 1982.
And that's not a bad thing. Crafting catchy pop songs from modest means has always been tricky. Yet, they make it seem so effortless. The entire album is strong and flows smoothly from track to track. Starting with `The Simple Life' we are served a simple hook and driving synth bassline for a full 4 minutes before the first vocals appear. Setting the stage for what is to follow, this album is a juxtaposition of male and female voices, which at times play off one another and at other times seem to be unaware that another person is in the room. The female vocals are provided by LCD Soundsystem's Nancy Whang. Stepping into the role of a 21st century Phil Oakey, is former Six Finger Satellite guitarist John MacLean. Not quite as smooth (and not quite as androgynous), MacLean does a more than serviceable job behind the mic. The title song `The Future Will Come' recounts the ho-hum banality of suicide. It's all been done before. Stop thinking your dramas are anything special. Instead of a morose and somber tune, the jaunty tom toms and congas make the grim reality of death somewhat appealing. Or at least danceable. As MacLean tells us, "The future will come for everyone. A liveable life is a pretense." Up next, `One Day' is the most obvious Human League moment on the album, playing like the sequel to the story told in `Don't You Want Me, Baby.' Unlike that 1981hit, this song is from the female point of view. She states matter of factly "You've denied me, baby, the satisfaction of your love." It's over. She's walking out and he's left with nothing but her picture, which he's going to take down anyway, because he's just not that into her either. Interestingly, through falsetto a rival suitor urges her to get out and leave the other man behind. She's left repeating the hopeful chorus over and over that "One day baby you'll realize that I'm the one." The rest of the album tells a narrative of hooking up, breaking up and moving on. Picking up the pace and upping the fun factor with `A New Bot' leads us to `Tonight,' which at over 10 minutes, recounts hooking up with someone as the club closes and it's time to head home.... at least this time not all alone. As Morrisey asked, 'How Soon is Now?' `Tonight' is the answer. `No Time' follows and reveals the dirty truth of that casual hook up. "Tomorrow when the morning comes I'll be ready to get home. Thank you for a lovely evening. Everybody needs some loving. Bodies are made for moving. So shut your mouth." I didn't pick you up for conversation. We both know what this is. `Accusations' takes the break up song and makes it oddly cold. As she sings about "I get so emotional these days" in a sing-song near monotone, you don't get the feeling that she's just torn up about the loss. She may as well sing "yadda yadda yadda, yawn." Perfect! In `The Station' MacLean tells his side of the breakup. He tried to call. She won't answer. Eh, I tried, babe. "You're line was busy." With `Human Disaster' MacLean reflects on what was. The slowest and most introspective track of the album, the solo piano intro creates a haunting backdrop that dovetails nicely with his mournful vocals. The album rounds out with the previously released single `Happy House.' At over 12 minutes, this epic is both catchy and danceable. Moving on to new romance, our female protagonist has moved on and is thankful that her partner is "so excellent." And excellent it is. The entire album is superb, retro-inspired yet forward-looking pop electronica. This fine effort leaves me wanting more. `The Future Will Come' again and I can't wait until it does.
4.0 out of 5 stars
Almost there,
By
This review is from: Future Will Come (Audio CD)
The future is in the past. Sometimes is like listening to The Human League. Good Album anyway.
It will be better in the future.
4.0 out of 5 stars
Great techno rock album,
By
Amazon Verified Purchase(What's this?)
This review is from: Future Will Come (Audio CD)
I first saw this band in Heidelberg, and despite only 12 Germans showing up, and the Juan Maclean only playing for fifteen minutes, I really liked their sound and bought their albums on-line.
I found Future Will Come to be a solid techno rock album, with definite 80's pop influences. The male vocalist sings more often in this album, to its benefit, and the Nancy Wang does a great job with vocals in this one as the other. I could not give it five stars because there are some weak points in the album, but when The Juan MacLean is one in such tracks as The Simple Life, A New Bot, Tonight, The Station and Happy House they are beyond compare with their energizing drum and funky beats and vocals. Still worth buying if one is into this emerging style of music...
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