- Critic score
- Publication
- By date
-
Like the return of Portishead and My Bloody Valentine, Leila’s reemergence is another welcome surprise in a year that’s been full of them.
-
It’s rather difficult to describe the feelings and aural excitements wrought by Blood, Looms and Blooms, but suffice to say it’s the work of a powerfully brilliant and individual artist.
-
She could drop the dodgy cover of ‘Norwegian Wood’ and probably should, but that misstep aside this record’s an engagingly oddball, enchantingly out-there piece of avant-pop that could, with just a little more exposure, be celebrated as one of 2008’s best leftfield albums.
-
UncutBlood, Looms, And Blooms finds the much-missed producer back on track after personal tragedy, peddling her strongest work to date. [Aug 2008, p.96]
-
Well worth the wait, Blood, Looms and Blooms offers more proof of why Leila has been hailed by Gilles Peterson, Aphex Twin, and Björk since she started making music.
-
This marvellously fluid third album seamlessly integrates big names Terry Hall and Martina Topley-Bird into Leilas close-knit cadre of vocal helpmeets
-
While no song Blood, Looms and Blooms could be considered innovative, almost every song is excellent, which is no small feat.
-
With this album she has created an experiment of enormous sonic range and openness--at 14 tracks this leaves a lot of room in which to expand, yet the sound never strays from its essential logic and reveals something new at every turn.
-
With guest vocalists crooning over synth wiggles seemingly lifted from Aphex Twin's "Richard D. James Album," the Iranian expat's first record in eight years is as tuneful as it is brazen.