Another late to the dance review here, but I am glad I picked this up. Over the last 6 months, I have not been able to get this cd out of my car changer. At first you may feel this is a a bit lite to be taken so seriously. But "Let It Die" will keep pulling at you until you just accept the fact that this "is" a truly wonderful recording. I like this more than Reminder. It is more concise and the pace is just better.

I bought this as a follow up to Reminder CD, becausethis is the one that most said brought attention to her before the Reminder CD came out. It is good, I like Reminder better.

Bought this after watching a couple of her videos on youtube and listening to The Reminder..In my opinion this is probably the better of the two albums, with the standouts being "Mushaboom" "One Evening" and "Inside and Out", which I was pleasantly surprised to find out is a Bee Gee cover..

All in all great album and great talent, Feist's voice is timeless.

"Let it Die" is a great album from start to finish. I highly recommend it for listeners that might already be familiar with her latest album but are looking to go deeper into the Feist catalog. I prefer the original songs on this album to her covers but she does a great job performing all of them. Leslie Feist is a great artist that knows how to concoct a song with the right amount of passion, confidence, and vulnerability.

I love Feist. The CD may be an oldie, but it's still a goodie.

this is a delightful disc full of charming melodies and clever "pop" tunes. i'm in love with her distinctive voice. listening to this CD makes me just plain happy.

I'm a little late to the party, having picked up this CD in 2007, but I'm glad to be at this party. I bought The Reminder first because that's when I first heard of Feist and went back and bought Let It Die after playing The Reminder many, many times. Both are fantastic albums and I'm looking forward to her next release. And my 2 1/2 year son loves her songs too - he has sophisticated tastes. I highly recommend both albums.

I'm not really a big fan of entire albums, but Feist really didn't disappoint on this one. I even got my mother-in-law addicted. I'll catch her listening to it full blast on loop for hours at a time. Probably my favorite album of 2007.

Good compliment to most recent album - sounds very original - highly recomended - a bit less poppy than recent album - refreshing

Feist won my heart with her cover of the Bee-Gees' "Inside and Out"! It's so good! The rest of the cd is lovely and unique; I highly recommend this cd!

Thank goodness for commercials that introduce me to music I haven't heard before. I really like Feist's voice & style and will definitely buy more of her music.

The song that attracted me to this CD was Feist's cover of Inside and Out that I heard in an episode of Nip/Tuck. Although Nip/Tuck has practically nothing to do with the quirky, folk song, funny and unique sound of Feist, there is a sensuality in her music and her voice, paired with just enough humor to make this a great CD. Ambiance music, dinner music, party music, listen while I type at work music. It's great.

Great cd! Songs are really great for Feist's voice on this solo album. Great price, shipped quickly!

I listened to Feist's Let It Die so many times that I had to burn another copy when I wore out the original one. Yes, folks, it is that good.

"Gatekeeper" opens the album with simple, dreamy acoustics that sets the mood for the entire album. While the album touches convincingly on pop, disco, French cabaret, and even electronica, to name a few of the myriad of sounds displayed here, it is Feist's dreamy jazz sensibility that infuses the entire album, bringing it all together.

The infectious folk pop of "Mushaboom" can be heard in coffeehouses and hip bookstores all over the country. It is undeniably my favorite tune of the bunch with its catchy rhythms, layered instrumentals, and Leslie Feist's incredibly lovely voice. Leslie Feist turns sexy and slinky in a Sade-reminiscent "Leisure Suite". She's earthy and primordial with the spiritual-like "When I Was a Young Girl". And even though I don't understand a word of the French, "Tout Doucement," the playfulness of the melody and accompaniment tells enough of the story for me to enjoy it.

Whatever mood I am in, I can always find something to meld with my emotional soundtrack in Let It Die. And that's just about the highest compliment I can pay to any single body of music.

Lonely Lonely, Gatekeeper and more songs on this CD continue to spin in my head! I knew I was expanding my musical tastes when I picked this up on a whim last month, and now I want to share it with you all. This is fun music that holds a lot of magic throughout in both the singer's voice as well as the often brooding melodies.

Feist is something so different that I know they will be talking about them years from now, so don't just take my word for it, take a chance and get this album! One of the highly acclaimed releases of 2005, Feist is a showcase of musical talent and it is a shame more people are yet aware of them.

Fiest runs the gamut of musical styles from A to B on this record, from soul (ish) vocals to Norah Jones-like musings to out and out disco which was bad enough the first time - may the BeeGees rot in hell. I guess it's ok if you're an "indie" artist to regurgitate past musical styles that weren't too good to begin with and add a few electronic flourishes so you won't be accused of being too too retro and then add some dishpan shallow boy/girl lyrics and voila - pop genius! Fieist manages to be both sultry and sucky at the same time. Well at least all I lost was time having downloaded it, listened to it twice and deleted it. If mediocre modern pop is your thing then buy it but it's just not my bag, dad.

I only found out about Leslie Feist in an LA Times article in early July 2007, and bought a couple discs on a lark. Good investment. This lady is gonna go far. A less mature work than The Reminder but very high-quality work.

I would rate the songs I like at 5 stars each but can't rate the cd any higher than a 3 since there are only two period. Her voice is sweet and velvety but I just don't play it that much.

There is one particular word for describing the sound of Feist.

Refreshing.

This '05 debut album for Feist is crisp, clear, and melodious. Right from the moment "Gatekeeper" grabs your attention you're hooked, and glad to be so. It's hard to place Feist into any one category of music. She makes me think of a possible Norah Jones wrapped in a modern shell of jazzy, loungy, and slightly Indie influences. Like nothing you've ever heard, certainly not in the last few years. Her more recent album, The Reminder, is capturing most of the attention of listeners right now and rightfully so, but this work is not to be forgotten. For a debut solo album, Let It Die seems to lack no maturity, and to think that it was recorded in a mere week amid her many international tours of '05! These songs show no hint of being mindlessly crammed onto a record ready for the shelves. In fact, it shows no haste at all. Simply the most relaxing music, but not to the point that it's short on pop, albeit in a very subtle way.

"Mushaboom" picks up the pace followed by worthy-of-flagship-status "Let It Die". All of the next three tracks are gold when you arrive at the strange tale of "When I Was a Young Girl" to which there is nothing I can compare it to except maybe Norah Jones' "Sinkin' Soon". "Secret Heart" is a fun little inquiring kind of tune with nice subtle vocals. Now we come to the place that the critics really rave about here. Feist's remake of one of my favorite Bee Gees songs "Inside and Out" is killer. The Bee Gees did such an original good job on it that its tough to say this one's better, but its close. Alot jazzier to boot. After you finish jivin' out, you arrive at unexpected "Tout Doucement". Feist's surrounding influences shine out in this jaunty little tune, so jaunty that you feel like you're strolling down a sunny avenue in Paris one morning on your way to a little cafe. Afterall, it was recorded in Paris. This charming tune will tell you that. Last we have "Now At Last", suitable but certainly not least. Of all the songs on this album it seems that this one above all others was made for Feist. Simple, delicate, and just really nice.

You simply must check out this one of a kind CD, certainly one of the best of '05. Enjoy

I read that Feist was a sort of Norah Jones on steroids. I like Norah Jones but I'm not crazy about Norah Jones. I wanted originality. I wanted a jazz singer with a little more punch than Norah Jones. After making it through the first 8 tracks of Let It Die, I did.

I've completely rewritten my review because this artist, Feist, is so good, you may not catch it at first. Listen a little more and her music grows on you---she infectous.

Music has a new queen. Chrissy Hind, step aside.

I first heard feist a few weeks ago on the radio. The remix song intrigued me so I picked up "let it die".

For half the songs, think Nora Jones meets Portishead. A few uptempo originals and a couple covers mixed with slow melancholy tunes.

Although the vocals are beautiful, controlled and well timed; the rythms and instrumentals left me wanting more. I expected to hear an uptempo album but instead thought this CD was better for an evening with headphones on, lights off, winding down.

I have to say, I went to see Feist perform and fell in love. Then I purchased the CD and oh my golly. Fantastic, eclectic, yongue-in-cheek wonderful. I love love love it and can't get enough of it.

I adore this CD, and am now a huge Feist fan.

Leslie Feist's voice is really unique and amazingly soothing, sweet, aching, sexy or whatever it needs to be. This album has its amazing moments, but overall it didn't hold my attention or have anything special. It's nice music, but I don't listen to it anymore. Mushaboom is absolutely one of the sweetest songs I've ever heard, unfortunately it got old for me and with subsequent listenings this album lost its appeal. Good songwriting should never get old. Sadly the beautiful singing didn't make up for the uninteresting songwriting here. Try Zero 7 or Kings of Convenience, those wonderful groups are still holding up to my listening. Sorry Leslie Feist.

I hadn't even heard of "Feist" before my 16 year old son made me a compilation CD of various artists. I heard "Mushaboom" and was delighted. "Who IS this?" I asked him, and he told me. I felt so out-of-it, but also very happy to discover that not every female vocalist nowadays sounds like Minnie Mouse on speed, thank Heavens. There are some out there who can sing and who are not afraid to be a bit different than the mainstream. Her voice is unique, and Feist's style is hard to peg. I like that. I immediately went on Amazon, listened to some samples and read some reviews, then bought my first "Feist" CD. I have not been disappointed.

Sometimes a record comes along that appeals to suburban housewives, business executives, and downtown hipsters alike. "Let it Die" crosses such demographic barriers by force of sheer excellence. Leslie Feist is a captivating performer, and her honeyed vocals carry an album that is eclectic in tone and musical styles. It starts with the smoky acoustic bossa-nova of "Gatekeeper," continues through the ecstatic, swinging "Mushaboom," and gets soulful and subdued on the title track.

Producer Gonzalez really deserves equal billing with the titular star for his efforts here. His presence is subtle, but his gorgeous arrangements provide each song with enough variety to make them deeply rewarding. Headphones reveal their charms: lulling horns on the title track, flowing piano passages on "Mushaboom," and faint, colorful keyboard tones throughout the record. The drumming and drum programming are also spot on, perfectly complementing the shifting arrangements.

Interestingly, the album's first half, comprised of Feist originals, gives way to a second half of covers. It's an unorthodox approach, but it works. Feist's version of Ron Sexsmith's "Secret Heart" is playful and poignant, and her reading of the Bee Gees' "Inside and Out" is triumphant and dangerously catchy. By the time the album ends on a deliciously melancholic note with the piano-driven ballad "Now at Last," you want to listen to it all over again. This is not throwaway pop music; these urbane songs are executed so well that they are endlessly playable for anyone in just about any setting.

Fresh, fun and clever lyrics. Upbeat music. Not a one hit wonder! I'm very much enjoying quite a few tracks on this very pleasant, heaping-helping of unassuming talent.

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 second solo album, "Let It Die," sound like?

The answer: Stripped down, sensual pop music, with a touch of folk, 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 with no gimmicks.

The star of the music is Feist herself; her vocals are front-and-center, and she proves herself a rare kind of singer. There are no "American Idol" vocal explosions, no hyperdramatic wailing. 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 music.

Feist's record "Let it Die" is a secret little gem sprinkled with great songs. You can sink into this whole album, especiall "gatekeeper" and "let it die" very easily. The smooth sound of this album is intoxicating and her voice so delicate. She reminds me of Gretchen Lieberum, whose new release "Siren Songs" is comparable to "Let it Die." Both have such a mellow sound and inescapably seductive appeal.

Not much to add to all the other love-it/hate-it reviews - you will/you won't. Me? I find it charming and harmless, and pleasantly reminiscent of the early Tracy Thorn/Marine Girls/Everything But the Girl stuff on Cherry Red. And am I the only one who thinks she should team up with The Notwist? One interesting music-historical tidbit: "When I Was a Young Girl" is in fact a pretty hip reworking of the ancient folk ballad "Annie Franklin," aka "The Unfortunate Rake," "St. James Hospital," "The Bad Girl's Lament," "The Whore's Lament" (I like Hedy West's version on her "Love, Hell & Biscuits" album), that eventually morphed into "The Cowboy's Lament" and then "The Streets of Laredo," which was a huge Country & Western hit by Marty Robbins in the 60s. Interesting to see how these old songs travel through time and space, as well as between genders. Hey, there's a great set for some enterprising community radio dj...

Leslie Feist's sophomore effort, Let It Die is a refreshingly cool album. The Canadian artist, perhaps more popular as a member of indie supergroup Broken Social Scene, combines a number of original songs with covers of some older pop standards. Feist's jazzy vocals give spirit and soul to these covers. She certainly puts her seal on it, uniting jazz, bossa nova, and indie sensibilities into a coherent and enchanting album. Her vocal style is very reminiscent to Regina Spektor, yet unlike Spektor, Feist shies away from wailing, instead preferring to treat the listening to her soft, sweet vocal styling. More than half of the album - the later half - is taken up by covers which certainly speak to an older age of songwriting and a gentler singing style than is seen by most popular singers today, even in the "Easy Listening" genre. When Feist sings "Now at Last," and "Amourissima" the age of Judy Garland is remained. The entire second half of the album (especially the French language tracks) feels like it could be the soundtrack to Jacques Demy's Les Parapluies de Cherbourg.

However, this reviewer would be quite remiss to dismiss Feist as a mere cover artist. Feist has contributed a great deal of her own writing and composition (often collaborating with Gonzales - Jason Beck) The first half of the album, opening with the hauntingly beautiful "Gatekeeper" echoes much of the music she covers in the second half, combining bossa nova with a distinctively indie pop feel. No where is this synthesis more apparent than in the somewhat commercially successful "Mushaboom," which has already be featured in commercials and covered by Bright Eyes. The title track, "Let it Die" is more like "Gatekeeper," significantly less poppy than many of the other tracks on the album. It is here where Leslie Feist's soul comes out. The arrangement complements her vocals beautiful, and her lyrics make this into one of the finest tracks on the album. "One Evening" and "Leisure Suite" also help transition from a newer style of writing into the covers by making great use of bossa nova lounge rhythms and similar vocals.

This album is certainly one of the finest compilation works to be produced in the last five years. Suffering perhaps only from repetition, (which can certainly be excused - repetition of something as new and fresh as Feist isn't that bad of a thing) "Let it Die" is an evenly constructed album, and is certainly very accessible in that is spans so many genres. Fans of indie rock, French/Brazilian bossa nova, or even jazz will likely quickly fall in love with Feist. By combining these styles, Leslie Feist creates something that is entirely her own, yet can still remind both older and younger ears to music they know and love.

Leslie Feist's CV boasts appearances on records by Norweigan folkies Kings Of Convenience, indie collective Broken Social Scene and the scary, hairy Peaches; all of which gives little clue as to the direction of her major label debut Let It Die. Thankfully it's an instantly-accessible mix of minimal jazzy arrangements, sensual ballads and well-honed doo-wop and folk influences. Mushaboom is a quirky pop original, while the Bee Gees' Inside And Out is given a delicately funky, gallic spin. Feist's honey-coated voice glues the various styles together, her breathy tones more than making up for the fact that there's not a collaborator in sight.

Too much emphasis on her voice and not enough to songwriting dooms this set. Some of the tracks were so dull and lifeless. I've heard more passion, more joie de vivre from lounge singers in casinos. Yes, she sounds like Sade. I will say that I liked the one song she sang in French. I think I would have upped this album an additional star if the entire album were recorded not in English.

I feel the same way about Feist as I did about Alecia Keys--a sigh of relief. It is wonderful to know that soulfoul, but fun music is still out there. I have bought this CD for 5 people. Perhaps the best thing I can say about this CD is that I liked it so much that I bought it for my ex-girlfriend. I thought she should have it because it was that good.

Thank you Feist.

I love this artist's voice. Every song speaks to me because the album is so intimate. If you like one of her songs, you will like this whole album. Unfortunately it's a little short, but it's a delight while it lasts.