Feist - Let It Die
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CD Details
Artist: FeistEdition: Music CD
CD Release Date: 2005-04-26
Music Label: Interscope Records
Soundtracks:
- Gatekeeper
- Mushaboom
- Let It Die
- One Evening
- Leisure Suite
- Lonely Lonely
- When I Was a Young Girl
- Secret Heart
- Inside and Out
- Tout Doucement
- Now at Last
Music reviews of Let It Die
Music Review: A nice starting point, but far from her best work...
Rating: 3 Stars
I completely fawned all over Feist's album `The Reminder', completely losing myself in its beauty and epic awesomeness. I really have debating not even writing a review for `Let it Die', simply because I can't fawn as much as I want to. I really love Feist, but this album just doesn't do it for me as completely as it should, considering how brilliant she really is. With the exception of two tracks, `Let it Die' is just kind of `there', never really exploding at the seams with marvelous musical inspiration like `The Reminder' did.
The title track is glorious, as is the closing `Now at Last'; a transcendent masterpiece that rivals some of her best works (ala `The Water' or `The Park'). `Let it Die' is a beautifully controlled ballad (in the form of a Feist ballad) that strikes a chord with me. Its soft delivery is more polished than the distilled rawness that consumes `Now at Last', but it is almost just as powerful. They are very similar yet starkly different at the same time.
Tracks like `Gatekeeper' or the bouncy `Mushaboom' and the fun `One Evening' are good yet not outstanding tracks. They are entertaining, but they don't hold up when you compare them to similar yet mightily superior tracks like `My Moon My Man' or `So Sorry'. `Secret Heart' is probably the better of the `good' tracks here. Feist has such a beautifully controlled voice, and she uses it in perfect compatibility with the music here. I really like `L'Amour Ne Dure Pas Trajours', but part of me wonders if it is for the mere gimmick of the French translation that I am smitten or if it is actually a good song.
The rest of the album baffles me.
`Lonely Lonely' is just kind of bland. It is instantly forgettable and kind of lazy to me. `When I Was a Young Girl' has a unique point of view, musically, but it is not executed in the best way. It just feels kind of awkward to me. `Leisure Suite' is also awkward, but in a different way. It just carries an odd air of cheesy that I don't like. It's not bad, but it's not good...but it's not merely mediocre either. It's kind of just `wrong'. I've never been a fan of The Bee Gee's (did you really expect me to be?) and so I'm not entirely sold on `Inside and Out'. Feist makes this her own, and by itself it's a decent track, but it doesn't mesh well with the rest of the album to me and thus seems almost forced.
I love her, and I like this album, mainly for `Now at Last' and `Let it Die', but I have to be honest. This is no where near the brilliance that she achieved on `The Reminder', but this is a solid reminder that she is talented. If you are a fan then you really should own this, but if you are just looking into her for the first time, I'd start with `The Reminder'.
Description of Let It Die
Feist is a Canadian songstress, hailing from Toronto. Her first album 'Let It Die', is produced by Renaud Letang & Gonzales. Feist has been Gonzales' fellow for years. Part of the Canadian collective band, Broken Social Scene, Gonzales convinced her to come to Paris to record this first album. The journey started in an out of time, out of norm atmosphere, whose lush grooves are offset by a thoroughly enjoyable live performance, with members of the Germany via Toronto Kitty-Yo crew such as Peaches, Gonzales, & Taylor Savvy. Features 11 tracks including the singles 'Mushroom' & 'One Evening'. Universal.Canadian singer Leslie Feist has served as a guest vocalist for Norwegian folkies Kings of Convenience, Toronto power-pop troupe Broken Social Scene, and - under the frightening moniker "Bitch Lap-Lap" - the hairy female rapper Peaches. But her unruly resume hardly prepares you for the emotionally rich, softy sensual music on her major label debut. Moving from tortured torch songs such as "Lonely Lonely" to pulsating originals like "Mushaboom," it also contains stunning remakes of Ron Sexsmith's "Secret Heart" and the Bee Gees' "Inside and Out," tunes Feist not only makes her own but effectively uses to dissect her romantic desolation. "Don't you wish we could forget that kiss?" she smolders on the title track. Not in this lifetime. --Aidin Vaziri
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