Indie and Lo-Fi music reviews

More than anything, I absolutely fell in love with her slightly naive, young woman's, voice. Sexy, or what! I'd love to see and hear more from her. How about the Tonight Show for more, well deserved exposure, Leslie? Come on, Jay, this lady is in a class of her own.

Leslie Feist has this spellbinding ability to carry you through her dreams ("Mushaboom"), her past (the tribal folk-influenced "When I Was a Young Girl"), and her solitude ("Lonely Lonely"). Her voice is ever-quietly powerful, as are her lyrics, and rich with vibrato. "Let It Die" blends the folk with the jazz, the rustic with the urban, and the meditative with the fun-loving. Her rendition of "Inside and Out" is, dare I say, more funk-filled than the Bee Gee's and her other covers, which include "Secret Heart" and "Tout Doucement" are so zestful and fresh that they, too, arguably blow the originals out of the water. The essential cocktails-in-the-backyard summer album!

This girl is pure soul. I listen to this cd over and over again and never get tired of it!

I first heard The Capitol Years when they were essentially a one-man operation with alt-country leanings, when I stumbled on the fantastic song, "Faces and Beer." Since then they've evolved into a fully realized band and released the blistering garage rock Jewelry Store EP, which found them losing their acoustic guitars in favor of raw, high energy, electric rock and roll. On Let Them Drink, they combine the best of their songcrafting instincts, letting their inner Beatles shine with a white, bright light, while keeping it raw, real, and rocking. Every incarnation of The Capitol Years is worth checking out if you are a fan of roots, garage, or pop rock, to be honest - they continue to prove themselves to be inspired in everything they do.

I picked this one up 3 weeks ago and it hasen't left my player. The bass lines are amazing, the guitar riffs are some of the catchiest i've heard, and the vocals are perfect for screaming along with. If you like gettin' your socks rocked off then buy this one.

Does Leslie Feist sound familiar?

If she does, it's because of her musical resume, which includes Canadian indie-popsters Broken Social Scene, rapper Peaches and the Kings of Convenience. That sort of resume also makes you wonder: what will her second solo album, "Let It Die," sound like?

Well, this is what it sounds like: Stripped down, sensual pop music, with a little bit of jazz and trip-hop around the edges. It kicks off with only an acoustic guitar, before Feist jumps in like an orphaned torch singer who wants you to hear her. "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."

Additionally, there are several bonus tracks, including a remix and a piano version of one song. But these aren't quite up to the level of the main body of music here. Pretty, yes, but not outstanding.

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

But if the music is lovely, Feist is even better. Her vocals are front-and-center, and she makes good use of them. No "American Idol" vocal explosions, no hyperdramatics. Instead, Feist uses her vocals in all sorts of different ways -- breathy, husky, ethereal and coy, and and perfectly in sync with the music.

Not that Feist's voice doesn't mean that the music isn't also good. Because it is -- very good. Most of the instrumentation piano and acoustic guitar, with some additional touches -- snapping fingers, cowbells, a hint of synth and handclaps thrown in. It's very simple and pretty, no matter the style. Only a few songs, like the clunky "Lonely Lonely," fail to be captivating.

After a little-known solo debut and several supporting performances, Leslie Feist moves into the spotlight, and establishes herself with the beautiful "Let It Die." Beautiful soft pop.

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.