He’s French. Beyond that, I have no idea, but we seem to like him…
Kat Stevens: Big fat lazy Lindstrøm space-disco that’s a bit too slow to dance to and lacking in any distinguishing features (but not suffering from any annoying features either).
Michaelangelo Matos: Another great early-’80s pastiche, clearly my area of interest–my favorite singles of 2006 and 2009 were Escort’s “Starlight” and Walter Jones’s “Living Without Your Love,” respectively. But the 2D bass line, string coloring recalling Patrice Rushen’s “Forget Me Nots,” Chic piano, and elegant dub finish pretty much scream Metro Area, and with them basically out of commission, this will do quite nicely.
Martin Skidmore: It feels like his day was almost 15 years ago now, but this is good. It’s kind of deep house with nods to the earliest techno (it feels almost as if it could be an Inner City remix at times) and vintage Disco (there’s a Chicesque riff), though its ambition maybe undoes it some — it wants to be complex and changing and symphonic, and I think it has some missteps when it declines to settle into and play around in its warm, likeable groove.
Mallory O’Donnell: Like most of I:Cube’s output, this is tasteful on the side of too tasteful. Everything about this track is well-executed, the sounds are perfect, the slight references (cosmic and dubstep) are timely, but nothing ever quite happens. Chill-out comp here we come.
John Seroff: Clever but understated house is easy for a dilettante to either shrug off or overhype. I honestly don’t understand enough about the history or eight gazillion splinter subgenres of dance music to talk intelligently about where I:Cube falls in the current ranks or past pantheon; Lex and Matos should be able to help you there. All I can say is this falls under the heading of “knowing art when I hear it” and I’m perfectly happy to keep hearing “Falling” all day.
Pete Baran: There are whistles way down in the mix which give you a slight ghost club feel. This is walking music, enough to get your arse bouncing as you glide through the city hiding a secret purpose that no-one else can discern. It also works if you are walking to work; less booty-bounce then, though. Terrific architectural music, built from the bass up but with an awful lot of rococo features to keep it endlessly entertaining.
Alfred Soto: You know the 4 am walking-home vibe in which you still hear club noises and remembered beats as your body starts to slow down? That’s what this song conjures: quiet and propulsive.