| Rating |
Summary |
|
| n/a by www.prefixmag.com |
Like the return of Portishead and My Bloody Valentine, Leilas reemergence is another welcome surprise in a year thats been full of them. |
Read more |
| n/a by www.spin.com |
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. |
Read more |
| n/a by music.guardian.co.uk |
The listener emerges unsettled and intrigued. |
Read more |
| n/a by uk.launch.yahoo.com |
Not tonally consistent enough to work as an ambient record, not sufficiently solidly written to really grab your attention as a suite of songs, Leila's comeback nonetheless numbers some arresting moments worthy of your attention. |
Read more |
| n/a by www.urb.com |
Musically, this record definitely shoots what it was aiming for, but I wouldn't listen to it unless you are, or want to be, severely depressed or disturbed. |
Read more |
| n/a by www.drownedinsound.com |
She could drop the dodgy cover of ‘Norwegian Wood and probably should, but that misstep aside this records an engagingly oddball, enchantingly out-there piece of avant-pop that could, with just a little more exposure, be celebrated as one of 2008s best leftfield albums. |
Read more |
| n/a by www.guardian.co.uk |
This marvellously fluid third album seamlessly integrates big names Terry Hall and Martina Topley-Bird into Leilas close-knit cadre of vocal helpmeets |
Read more |
| n/a by Popmatters |
While no song Blood, Looms and Blooms could be considered innovative, almost every song is excellent, which is no small feat. |
Read more |