Benn Jordan continues to move away from the glitchier side of electronic music and towards a more acoustic, soundtrack-inspired sound. This may have peaked on Soundtrack to a Vacant Life (2008), however, as subsequent albums Arboreal and Love as a Dark Hallway seemed a little adrift/subdued, while Opus at the End of Everything provides only more of the same, but with less effect.

That’s not to say the album does not have some very good tracks. Jordan seems to find it relatively easy to reel-off likeable, melodic electro-acoustic pop, and Opus at the End of Everything certainly has its moments. Blurry Figures, Far Away and the heaving strings of Arrival To An Empty Room are heartwarming to listen to, while A World I Never Noticed, with its melancholy piano and spacious, haunting atmospheres delivers a raw emotional that few can contrive so effectively.

In fact, the album fares well up to track 10, with its sweeping ambient moods and restrained electro-acoustic gleam, but hereafter starts to lose focus and direction. Almost as if, Jordan cannot bear to throwaway his cast offs, Opus at the End of Everything struggles to maintain interest with a raft of rather ordinary and uninspiring efforts that sees the artist, perhaps unwittingly, going through the motions.

As the tracks come thick and fast, they all seem to blur into a haze of uniformity; too short to sustain interest, too underdeveloped to develop a theme. Unusually for Jordan, the album also lacks melodicism – and although his music is usually well produced, his programmed beats are at risk of becoming little more than sterile conjunctures.

Sometimes you wonder whether Jordan is simply pumping out tracks that could attract the attention of advertising executives. 25 is certainly overkill, and although these days the consumer tends to pick and choose what they like and dumping the rest, to approach an album in that mode of thought, if indeed that is the case, seems a lacklustre approach.

Perhaps this is inevitable for any artist with such prodigious output; there will be lulls, and this seems like the work of an artist whose output has been over-juiced and thus ideas undernourished.

Jordan now needs to take the next step up, perhaps integrating a wide range of vocalists into his music could present a new challenge, a different way of writing and provide further creative/emotive release.