Bowery Ballroom

showview

Sat 10/18

18+

Doors 9pm

$15

http://www.myspace.com/thejuanmaclean
http://www.thejuanmaclean.com/
Prior to becoming one of the most significant acts on the DFA label, John Maclean was a member of Sub Pop band Six Finger Satellite. Initially, Six Finger Satellite fit in with the remainder of the Sub Pop roster, but after one EP, they took a sharp turn into herky-jerky post-punk that was inspired by Devo, Big Black, and Suicide instead of Black Sabbath, the Stooges, and Led Zeppelin. By the time they went to record their final album, 1998's Law of Ruins, Krautrock began to play a major role, and so did James Murphy, who produced, engineered, and mixed the sessions, in addition to running the band's live sound. When the band broke up, Maclean's aggravated emotional state and long-term drug addiction took him low enough to provoke a move from New York to New Hampshire and a drastic change in lifestyle. Murphy and Tim Goldsworthy, who were getting the DFA label off the ground, provoked Maclean to become interested in making music again. Using the name the Juan Maclean, Maclean took the sound of his defunct band to the dancefloor, retaining flashes of post-punk and '70s experimental electronics while grafting bits of early Euro-disco, electro, Detroit techno, and Chicago house. A handful of singles -- including DFA highlights "You Can't Have It Both Ways" and "Give Me Every Little Thing" -- led to 2005's Less Than Human, the first album credited to the Juan Maclean.
--Andy Kellman, allmusic.com

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=64664341
http://chairliftmusic.com/
Frequenting late-night jazz shows at the strange Broker Inn on the outskirts of Boulder, CO, Caroline Polachek, Aaron Pfenning and Patrick Wimberly are all mystified by the 1980's faux-gothic architecture. Oak-cabinet aquariums, vacant dance floors, and muffled velveteen booths provide the ideal hypothetical setting for a new breed of pop music. Intent on making music for haunted houses, Chairlift in the summer of 2006.

Shortly thereafter, relocating to Brooklyn, the trio further develops their sound into hypnotic yet tongue-in-cheek style, which is apparent in their first single. "Evident Utensil" was called "a charming pop oddity" by the NME, Exclaim! gave it "immediate cult status," and RCRDLBL.com deemed it, "the best single from a Brooklyn band since like TV on the Radio or something."