You can call this hipster-friendly dance, though…

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[7.14]

Edward Okulicz: “Pure Space” uses ust about every pleasurable sound you could imagine, and a few that shouldn’t be pleasurable thrown on top as if to show off that it can be done. The noise you get on an old video game when you get an extra life, squalls that might be dophins, an addictive wailing keyboard melody and house piano of a level of sheer joyousness not heard since the glory days of Utah Saints all coalesce into something magnificent. And steel drums (listen and learn, Jamie xx!). The word “space” conjures up all sorts of sonic ideas, and rather than being bleak and minimal like actual space, “Pure Space” would be an ideal soundtrack to all the bodies in the sky bursting into a dance routine. Magic, that’s what this is.
[10]

Iain Mew: The same kind of gorgeous chipwave as Neon Indian with added steel drums and without mumbly indie vocals to get in the way. Ecstatic.
[9]

Brad Shoup: It’s a fully-inhabited 16-bit house, with room to wander.  The only other UK song I’ve come across had that Yasutaka Nakata vibe… it also had the same high-lonesome Gameboy synth as here, but now we’re blowing past backgrounds like a racing sim, or possibly Plok. Shout-out to Chris Taylor of the legendary Descendants of Erdrick for establishing the Tim Follin bloodline; now I have two instrumental pop purveyors to keep tabs on.
[8]

Anthony Easton: Pychedelic and cavorting over hill and dale, comes closest to how I imagine the coruscating light beams that reflect from a unicorn’s horn.
[5]

Jonathan Bogart: I’d actually forgotten what it felt like to be seduced, rather than dominated, by EDM.
[8]

Kat Stevens: I guess I missed the secret level of Mario Kart where miserable teenagers in expensive clothes run around taking drugs which fail to cheer them up even one bit. OH WAIT I live in Dalston. As you were.
[4]

Alfred Soto: The distorted harmonica’s not a bad trick, and neither is the sample of Pac-Man swallowing a Power Pellet, but I recoil from the sound of these hits: novelty as an end. Call it post(daft)punk.
[6]