Jordan is a master of restraint and subtle expression. She doesn’t belt; she breathes, trusting her phrasing to carry the heat. On the sugary highlight “Sweet Sensation,” she slips out of Brandy-esque melisma to assert that smolder can stand alone. On “Crave,” a love song produced by Chicago house legend Terry Hunter, Jordan struts exquisitely; club music was always about feeling as much as stimulation, and Jordan is tapped into the heart of its lineage. Songs like “Crave,” “TTW,” and “Sum” keep steady four-to-the-floor rhythms that invite slink, not sprint.

The record’s polish comes from curation as much as performance. Jordan doesn’t just hire producers; she maps a dance diaspora of contemporary pop, Chicago and Detroit house, and UK garage, and threads herself through it. Standout favorite “Bite the Bait” gets a chrome‑sleek electro sheen from Jimmy Edgar that lets her cool vocal glide like lip gloss; “Around” draws on producer Hamdi’s UK bass sensibility, and Jordan rides the low end, sounding featherweight and self-assured. “I’m Your Muse” sharpens her chanteuse era into a point. Over KLSH and Machinedrum’s lithe kick, she purrs instructions, blurring ad‑lib and hook until the whole thing feels like an invitation and a boundary at once: “Just say you love me/Say you use me/Say you’re feening.” Elsewhere, KLSH keeps the pulse clean (“Ladida,” “Never Enough”), and the snap of Machinedrum and WaveIQ’s beat for “On 2 Something” gives her space to flirt in the margins. Jordan’s scene knowledge reads lived-in, not borrowed, and her voice remains the constant center of gravity.

If you come craving rupture or the feral edge of club experimentalism, you might want to look elsewhere. There are moments—especially for fans of her more edgy cuts—where you expect the veneer to crack. But the choice here is deliberate: restraint as seduction, control as heat source. Through the Wall makes its case without grandstanding, proof that command can be quiet. Jordan has always balanced sultry R&B with a steady impulse steeped in UK dance; the difference now is how serene she sounds in these choppy waters. Through the Wall isn’t the loudest record in the room, but it’s among the most replayable at 2 a.m.—and by that time, it’s only true party people in the house.