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LEILA

Leila Moss

Who The Power

    "If you’re going to deconstruct the modern psyche," says Liela Moss, "you might as well dance to it." On her second solo album, ‘Who The Power’, Moss fulfils that remit with all the power its title calls for. After 2018’s deeply personal ‘My Name Is Safe in Your Mouth’ - a debut solo album at times serene, at others stormy, on every front sumptuous - Moss entered a period of profound creative and personal self-reflection. When she emerged, she forged an album of questioning intensity and synth-loaded drama, with the expressive force in her voice refuelled by the urgent desire to interrogate the role of selfhood in fraught times. And, crucially, backed by the urgent grooves needed for the job.

    As Moss says of her feelings during the build-up to the album: “To make music for the sake can sometimes feel like a narcissistic thing to do, and very reflective of our times. So much of being a musician and live performer is about projecting energy outward, which can be a beautiful and powerful thing. I experienced a good round of that over previous years, and now wanted to explore my fears of tipping the scales the other way: why should I continue to reenact the narcissistic habits of our generation, desperate for validation, desperate for space, for ‘a platform’?”

    Album opener ‘Turn Your Back Around’ is a yearning eco-lament set to banked synths over a propulsive beat. Or, as Moss puts it: “One filthy, upbeat, downhearted, close-your-eyes-and-dance-by-yourself pop song, offered as a parting gift to Mother Earth.” ‘Watching The Wolf’ is another forthright song for today, its brooding, near-gothic swagger framing a righteous modern-day folk tale about wolves converging to unseat a toxic political pundit. A controlled rage shows in Moss’s voice, which grows more liberated still amid the simmering darkwave throb of ‘Atoms At Me’, where Moss issues a call to free the senses from the call to consume.

    That sense of freedom further shows in the album’s dynamic focus and passion. The nearceremonial ‘Always Sliding’ draws power from the idea of impermanence, from the call to “keep searching.” ‘The Individual’ sets a Paradise Lost-ish narrative to a sulphurous bassline and lunging synths, while the graceful synths and infectious melody of ‘White Feather’ frame lyrics with teeth. “‘White Feather’ is a lament for the earth, sung with fingers crossed behind my back,” explains Moss. “Humanity is losing connection with something vital, and willingly letting itself slip into an abyss. This isn’t as simple as my reaction to the distressing reality of environmental damage; it is my thoughts on our lousy behaviour to one another.”

    Elsewhere, the moody elegance of ‘Battlefield’ and bruised plea of ‘Nummah’ rank among Moss’s finest vocal performances. ‘Suako’ offers pulsing synth-rock impetus to risk starting anew, while the blissful ‘Stolen Careful’ ends the album on a palpable note of revitalisation, all risks rewarded as Moss emerges refreshed in her hunger to explore new, meaningful ways to engage with the world.

    As with the widely acclaimed ‘My Name Is Safe in Your Mouth’, that engagement took place close to home. Working again with partner / producer Toby Butler, Moss wrote and recorded the album in their studio in Somerset, where they live with their child. The difference this time, she explains, was a desire “to create something more urgent,” which captured a sense of renewal while conveying a strong sense of despair at modern culture. “Perhaps that oscillating energy is best expressed musically via machines. We spent much of our time playing with vintage synths and drum machines, building a more visceral palette. I wanted the album to convey a depth of field, to be multi-layered yet feel simple, and to groove.”

    Widescreen ambitions fulfilled, the result is another bold leap forward for one of alt-rock’s most magnetic, exploratory voices. Over 14 years, Moss’s work with the Duke Spirit (on pause) ranged from brawling riff-rock to more cinematic ventures. Other gigs have included synth-rock recordings with Butler under the name Roman Remains and various collaborative ventures – with UNKLE, Nick Cave, Giorgio Moroder and Lost Horizons, as well as serving as muse for fashion icons Alexander McQueen and Phillip Lim, among others.

    TRACK LISTING

    1. Turn Your Back Around
    2. Watching The Wolf
    3. Atoms At Me
    4. Always Sliding
    5. The Individual
    6. White Feather
    7. Battlefield
    8. Nummah
    9. Suako
    10. Stolen Careful

    Leila

    U&I

      Leila has already released three albums, a trilogy if you will. In 2009 she started to write a body of work that felt different. Maybe it was being sober, but this one seemed to be about being more direct. Leila first met Mt. Sims at a fancy dress party way back in 2006. Leila went as Leila. Mt. Sims dressed as a Computer Processing Unit fashioned from a cardboard box with strategically placed slits. She had admired his music since his work on Gigolo Records, she was most happy when he introduced himself and said he was a fan. Fast-forward to 2009, Leila decided the man who had dressed as a CPU was the perfect voice for this new body of work.

      ‘In Consideration’ was made within two hours of him arriving at her home studio, when it comes to noise she doesn’t like to waste any time. Then came an intense period of sonic interactions. ‘Welcome To Your Life’ was particularly fun in its inception. Backing track pretty complete, as Leila watched Countdown Mt. Sims casually wrote a song… Leila liked it a lot. Two visits and some acapella posting via Dropbox later ((both “Anyway” and “U&I” were done within 30 minutes of Leila receiving the acapellas), The album was complete. Leila does enjoy watching the TV a lot but is also rather prolific. Then she just needed to stitch these and some carefully chosen instrumentals from her arsenal to complete this new story.

      The title was a difficult call, 'Celine Dion'… 'The Pierces'…'The Gaga'... Leila says “Fuck It”, in aesthetics she doesn’t care about the what, how or why. Both intimate and universal, personal yet detached ‘U&I’ would be the name. The artwork is a picture taken of a very special computer crash revealing its internal architecture. Like an imaginary moment when you can look at a human being and see their organs and bones rather than the layers of veneer- Harsh but true.



      Leila

      Blood, Looms & Blooms

        A breathtaking new album of captivating melodies and infectious beats, "Blood, Looms & Blooms" features wonderfully vivid body of electronic based songwriting that lends itself to the dark and gothic... The fourteen songs are like little, baroque, fairy tales composed in the darkest corners of her music box, featuring vocal performances from the likes of ex-Specials, Terry Hall, Martina Topley-Bird and Luca Santucci. Both formats are presented with striking sleeve art and gatefold sleeves.


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