From the Kites of San Quentin's EP Mitochondria is very good in places but doesn't play as cohesively as it could if it was half as long. It comprises eight tracks but only three of them are original compositions: the first three, 'Stoopid', 'Leopold' and 'Tiny Numbers For An Abstract Mind'.

All three are great. 'Stoopid' kicks off Mitochondria in style, glitching away with video game noises and tin beats, smoothing them over with warm, reverb-infused and fuzzy synths, and Alison Carney's warbling voice, high and soft, made gravelly by effects, glides over a thick layer of tones.

That's the formula here. 'Leopold', on which Carney's voice is churned into an instrument of its own and tuned up and down, fizzes along on sweeping laser sounds and cut 'n' paste rhythm sections, and a normal Carney vocal line sweeps over and above it all, sometimes ducking to enter the fray. 'Tiny Numbers for an Abstract Mind', the darkest of the three, sees Carney, Blood Boy & L.S.N quietening down, letting organ-ish chords bed in under sci-fi-sounding special effects and vocal manipulations, which spin in and out of the mix. Here Carney stands out less, the mix making sure the main vocal line blends in. Nonetheless, the unifying element across the three tracks is her voice, which often exhibits the ability to isolate itself from everything going on under it.

Of course, that only accounts for less than half of an EP which, disappointedly perhaps, contains five remixes, three of which are versions of 'Stoopid'. However good a track is – and 'Stoopid' is very good; it's Mitochondria's best track – there's little argument for housing four different versions of it on record, especially if that makes up half of the total effort. It's easy to find yourself bored or even a little bit annoyed by the original when the third 'Stoopid' remix, by Manni Dee, closes the EP. The fact that the penultimate track is a Zoir mix of the song doesn't help matters, and the reasoning for the number of 'Stoopid's, that they are a result of a remix competition run by the trio, doesn't really justify their inclusion.

It's a shame that there are so many because the remixes are also very good. The Co.fee version of 'Stoopid' turns it into something like a post-rock track, adding trebly guitars, a fuzzy bassline and a set of acoustic drum samples. It could maybe be by Ratatat or Holy Fuck. In fact, while the repetitiveness of 'Stoopid' cycling round again and again gets irritating, Mitochondria also introduces people to a set of decent artists through the remixes: as well as Co.fee, Zoir and Manni Dee, there's stuff by Him Hollows, Capac and Anclove, and all of them are good and represent worthy advertisements for this crop of artists.

But the feeling that Mitochondria doesn't make for an album does persist, despite the quality on show. For some people that isn't a problem. For others, it'll make or break the work.