Over the past decade, thanks to outstanding releases from a rich roster of talent that includes artists like The Rapture, Hercules & Love Affair, YACHT, Holy Ghost and disco-punk overlords LCD Soundsystem, Death From Above (DFA) Records has grown into a cool musical entity celebrated the world over for pumping out out hugely distinctive electro-disco-house records for the pseudo-hipster movement.

A central figure in helping to break new ground and pushing experimentation between guitar based music and electronic exploration for the label, The Juan MacLean met sound engineer, LCD Soundsystem frontman and future DFA boss James Murphy whilst playing with Sub Pop band Six Finger Satellite, eventually going on to release one of the first 12” singles – 'By The Time I Get To Venus' – on Murphy's newly minted DFA label in 2002.

The Juan MacLean's resulting work since - two full-length albums in 2005's Less Than Human and 2009's The Future Will Come, a DJ Kicks album, numerous EPs and an immense list of remixes, productions and collaborations – mostly all had the golden DFA touch about them and spanned an awesome spectrum of instrumental, vocal and sample-based electronica underpinned by punk-rock sensibilities.

With such a precedent set, it's frustrating to discover that the selection of remixes and unreleased tracks making up MacLean's latest release Everybody Get Close falls slightly short of expectation.

Diehard DFA fans will no doubt appreciate the mix of styles and unheard tracks included, and there is the occasional flash of brilliance like the rounded bouncing bass, jazz tones, woodwind sample (try not to think of the Rainbow theme tune) and warm keys on the sleek, sultry and disco-flavoured tropical house of 'When I Am With You', but 'Deviant Device's sluggish, dated crawl through FSOL and Leftfield-by-numbers synth delays, dub aspirations, unremarkable 4/4 beat and the straight, vapid breakbeat-house of 'X2' dilute the overall standard.

Of the two covers of 'Human Disaster' - one of the stand-out tracks from MacLean's second studio album - Jee Day's more adventurous vocal-free reworking stands tall over the respectful, gentle but uninspiring Holmes Price remix by feeding looping piano from the original into a beautifully layered seven minute work underscored by a funk bassline, and on 'Feel So Good', the highlight of the album, LCD Soundsystem full-timer, Soulwax collaborator and MacLean's regular partner in crime Nancy Whang helps land a sonic roundhouse contributing vocals towards a heady and elevating track pulsing with authentic DFA magic.

MacLean followed up the release of 2008 single 'Happy House' by touring with electronic band Cut Copy, and it is the Australian four-piece who give the track an acid-house overhaul for 2011. This version, a heavy X-fuelled journey back to a field somewhere off the M40 circa 1988, strips out the cowbell and Balearic feel of the original in exchange for Detroit techno influenced early UK rave.

If you're expecting a goody bag packed with classic sharp shooters, Everybody Get Close isn't quite it, but as a short-term fix between superb albums (and you've already been waiting since 2009), then this collection of miscellaneous is worth a shot, if only for the standout tracks to serve as a reminder of the talent of a one Juan MacLean.