His latest EP, however, struggles to reach the same heights. Ordell has a penchant for meandering, fluid grooves, but he's just a little too enthusiastic in his deployment of them in places. They feel overly long, as if he's trying to create extended run-outs for DJs rather than editing the track down to its essence.
That said, he certainly knows how to create an addictive bassline, as the wobbling, rubbery example on "Five Majors" shows. "Nobody Loves Bishopsgate" isn't a quantum leap forward from the lead track; the percussion crackles and the watery bassline bumps in all the right places, but it outstays its welcome as it heads into its eighth minute. Vera's remix strips away the percussion, replacing it with eerie twitterings, hi-hat vignettes and odd discordant rumbles, which instantly make it more interesting. "Kosma" sees Ordell delving into the UK garage playbook. Snares skip like a kid ODing on sugar, and a prodding bassline and truncated vocal sample make it the most entertaining of Ordell's three productions.