Leila Arab has been away for quite some time. Her acclaimed debut LP, 1998’s Like Weather, was followed up by ‘Courtesy For Choice’ back in 2000, but since then Leila has taken a break from creating her own music. This absence can be explained by the fact that both her parents passed away during this time and music no longer was a priority for the Iranian born Leila. However, born through Warp records, we now welcome her return with ‘Blood, Looms and Blooms’.
Instrumental opener ‘Mollie’ welcomes us into the dark and haunting world that is Leila’s new offering, although this welcome feels full of warnings that our souls may be dragged down into some ‘through the looking glass’ existence and we may not escape unscathed. With Leila now having us firmly by the hand we are led down, down to listen in on the noises of an enchanted workshop documented in ‘Time to Blow’, in which we are promised “I’ll make you regret it”. This is fast becoming experimental electronica at it’s most dark.
A little respite is needed from all this menace, and we are given it with the lovely ‘Little Acorns’. Standing out as one of the most upbeat, and quite dance-able, pieces on the album it comes complete with rappy happy children’s vocals. However, ‘Daisy’s, Cats and Spacemen’ is quick to whip us back up in the melancholic atmosphere that runs through this album like a black thread. Incredibly reminiscent of old school Portishead trip hoppery, this track showcases the sultry vocals of Leila’s sister Roya Arab that end with a ghostly whisper to the back of your neck.
‘Mettle’ is the real stand out track, a Bjork like opening that sounds like robots tuning themselves in that quickly collapses into a dirty surging motion, covered in hectic liquid dripping noises. This tune lulls you into false senses of security with calmer moments, then slams you against the wall with loud roars that grab you by the throat. The abrupt stop that ends this track is like a rug pulled from under your feet, like your breath has been stolen away from you.
‘Teases Me’ has beautiful vocals from Luca Santucci, and resonates in a similar fashion to Mezzanine era Massive Attack. Other noteworthy vocals are those of Martina Topley-Bird (on the almost sing-along ‘Deflect’) and the operatic turn of Seaming on ‘The Exotics’.
There is plenty to disturb on this album, the truly sinister ‘Carplos’ being a perfect example of this. There is a Clockwork Orange style menace to the sound in this track, although it feels like it would sit well in the background of any horror movie.
It’s definitely not all plain sailing though. Beatles cover ‘Norwegian Wood’ is a really difficult listen, at times throwing melody out of the window to concentrate instead on the increasingly disjointed beats. At one point Luca Santucci lends his vocals three or four times over to this track, in each layer singing the tune ever so slightly differently so that when combined my ear drums were rattled in a way that ended up just plain hurting. ‘Lush Dolphins’ was another track that I just couldn’t bring myself to appreciate, and couldn’t even begin to try and explain.
‘Young Ones’ won me back though, an enchanting track that reveals itself to be a live recording with a burst of applause erupting at the close. ‘Why Should We?’ brings the album to an end, uniting Terry Hall and Martina Topley-Bird in a duet.
Leila’s long awaited ‘Blood, Looms and Blooms’ is an album that keeps us at a distance, an enthralled spectator on a dark dreamscape. The experience is like being fully aware of a nightmare, and the fact it can’t hurt us, but having no control over the outcome and feeling horrified all the same. It’s no light listen, and I personally don’t often feel drawn to such sinister tunes, but for those who like their fairy tales grown up and their sleep walks sultry; this is the album for you.
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