Let It Die

The gems include, Gatekeeper, One Evening, Secret Heart and Mushaboom. But, I can't really fault any of this album. It is so well put together and diverse. Her beautiful vocals are always the focus of the tracks, yet they never dominate the music. I find this quite rare and exciting.

I can't wait to see what she does next, a class act!


gorgeous and interesting   September 25, 2005
 9 out of 12 found this review helpful

i love her voice. i heard it in an add and then searched to find the singer behind it. she does remind me of pj, but i find her a more tender, more soulful and less angry version of pj harvey. she isnt afraid of letting her music reach aesthic beauty, and she isnt afraid of simplicity, which i find in itself incredibly atractive and beautiful. i like every single song in the album, which is rare these days. each has its own personality, and a story, and i found myself caring, and wondering about some of the abstract characters in the songs: "secret heart, what are you made of, what are you afraid of, whats wrong, little man on the secret heart" .... :-). together, the collection brings together a cool mix of groovy folk, 70s dance, african, blues, gospel, rock, country, french classic sounds. the other thing i love about this record is that it isnt over produced. its her rich voice accompanyied by a series of gorgeous, quiet instrumental pieces which in the end create a delicious atmosphere and emotional connection. try it.


Let it live   July 19, 2005
 13 out of 17 found this review helpful

If Lesie Feist sounds familiar, it's because of her musical resume -- it ranges from Canadian indie-popsters Broken Social Scene to female rapper Peaches to the Kings of Convenience. That sort of resume also makes one wonder -- what will her solo debut, "Let It Die," sound like?

The answer: Stripped down, sensual pop music, with a touch of jazz and trip-hop around the edges. It kicks off with only the strums of an acoustic guitar, before Feist jumps in like an orphaned torch singer. "Well it's time to begin/as the summer sets in/It's the scene you set for new lovers," she croons.

From there on, Feist doesn't even slow down. She ventures into cheery, catchy pop like "Mushaboom," sensual slow ballads, rippling trippy songs, and smooth torch songs. There's even -- surprisingly -- a cover of the Bee Gees' "Inside And Out," which she gives a funky spin, and a delicately catchy cover of Ron Sexsmith's underrated "Secret Heart."

The flavour of Feist's music isn't the sort that sets off fireworks and sets you raving about how much fun it is. "Let It Die" is the sort of album that is periodically hailed as being the real deal -- no studio tricks, little musical polish, and a reliance on good songwriting and tunes rather than hooks. In other words, pure music.

The star of the music is Feist herself; her vocals are front-and-center, and she proves herself a rare kind of singer. No "American Idol" vocal explosions, no hyperdramatics. Instead, Feist flexes her vocals in all sorts of different ways -- breathy, husky, ethereal and coy, and and moving along with the music in perfect sync.

Not that Feist's good voice doesn't mean that the music isn't also good. Most of the instrumentation is based on piano and acoustic guitar, with snapping fingers, cowbells, a hint of synth and handclaps thrown in. It's very simple, and very pretty, whether trying out catchy pop or traditional-sounding folk. Only a few songs, like the clunky "Lonely Lonely," fail to be captivating.

Leslie Feist moves out of the shadow of the other bands and artists she's worked with, and establishes herself with the beautiful "Let It Die." A rare and good type of pop.