Let It Die

1	Gatekeeper 2:16
2	Mushaboom 3:44
3	Let It Die 2:55
4	One Evening 3:36
5	Leisure Suite 4:07
6	Lonely Lonely 4:10
7	When I Was a Young Girl 3:08
8	Secret Heart 3:49
9	Inside and Out 4:17
10	Tout Doucement 2:31
11	Now at Last 3:16

Barnes & Noble

As far as indie rock pedigrees go, Leslie Feist's is as distinguished as they get: Her high school punk band opened for the Ramones; potty-mouthed punk-disco diva Peaches was once her roommate; and she's an occasional member of the acclaimed collective Broken Social Scene. So it may come as a surprise that her solo work consists almost entirely of jazzy pop that would probably go down well with fans of Everything But the Girl or Norah Jones. But when you possess a voice as smoky and sultry as Feist's, it makes perfect sense, and Let It Die is a schmaltz-free showcase for her powerful pipes. Letting the mood and emotion of the songs dictate the proceedings, the arrangements are near-perfect, whether it's a lone acoustic guitar on the Gilberto-esque "Gatekeeper," the handclap percussion and warm brass of "Mushaboom," or the lush, sexy "One Evening," equal parts Steely Dan and Sade. Feist brings the same passion and good taste to the work of others. The second half of Let It Die is devoted solely to covers, where she ably tackles songs by American folk icon Texas Gladden, cabaret legend Blossom Dearie, and the Bee Gees, whose "Inside and Out" gets the full-on disco treatment. Perhaps the finest moment, however, is the elegiac title track, on which she urges her brokenhearted self to just move on. You needn't pay attention to the lyrics to know that, though. Her expressive voice says it all. Bill Pearis

All Music Guide

Somewhere in between living with Peaches, playing guitar with By Divine Right, rapping with Chilly Gonzales, and singing with Broken Social Scene and Apostle of Hustle, Canadian songstress Feist started a solo career. Following up 1999's self-released Monarch, Let It Die was recorded in Paris between 2002 and 2003. The romance of the City of Lights glows throughout as a combination of folk, bossa nova, jazz-pop, and indie rock finds its place among the 11-track song list. She'll woo you with her sultry vocals throughout, a delicate and sweet voice that feels cozy. From the warm shimmy and shake of "Gatekeeper" and "Mushaboom" to the classy R&B grooves of "One Evening" and "Leisure Suite," Feist explores various musical worlds without getting lost. She reels you into different soundscapes and it's an exciting adventure. Dare yourself to imagine Patrice Rushen, Ivy's Dominique Durand, and Astrud Gilberto in a group, and that's basically the beginning threads of Let It Die. Feist never holds back sonically or musically; however, Let It Die isn't an extravagant first album. She's playful with her design and the overall composition flows nicely. Feist has varied styles and sounds just right, and that's what makes Let It Die the secret treasure that it is. Her rendition of Ron Sexsmith's "Secret Heart" is a cinematic outing for a dewy spring day. The Bee Gees' "Inside and Out" gets a foxy makeover for what is probably the album's finest moment. Feist's soft touch makes magic on these particular covers, and the bittersweet loveliness of Blossom Dearie's "Now at Last" ties it all together to make Let It Die a storybook romance. MacKenzie Wilson

New York Times

Ms. Feist tosses off one enthralling song after another, casually revealing her little surprises as if each one were no big deal. Kelefa Sanneh

Rolling Stone

Feist proves she's a modern gal with a sparse yet varied sound. Barry Walters