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Canadian singer-songwriter Leslie Feist (based in Toronto),
who had already recorded
Monarch (Not On Label, 1999) and toured with
her roommate Peaches,
transformed herself into a pop chanteuse
for Let It Die (2004), half covers and half originals, whose humble,
naive, singsong Mushaboom propelled her to stardom,
and
The Reminder (Cherry Tree, 2007), almost entirely co-written by her.
The third one marked a mature achievement as she propelled herself to the
forefront of the female singer-songwriters trying to bridge the
Joni Mitchell generation
and the Bjork generation.
Just like those two role models, Feist too placed the voice centerstage,
her voice making up for most of the appeal of their albums.
The jazzy
Let It Die (2004) turned her into a pop star, thanks in no small
measure to Canadian producer and keyboardist Jason Charles Beck
(Chilly Gonzales).
She wrote all the songs but one of The Reminder (2007).
The nonchalant country ballad 1 2 3 4
(co-written with Australian singer Sally Seltmann aka New Buffalo)
is the natural heir to Mushaboom, more so than
the pounding synthetic single My Moon My Man.
She also sang in Broken Social Scene.
Metals (2011) indulges in
torch ballads like the single How Come You Never Go There which are only
occasionally also catchy (Bittersweet Melodies and Graveyard) and
more often emotionally unstable
(the brooding, bluesy Anti-Pioneer, the
country lament The Bad In Each Other,
the evocative quasi-gospel The Undiscovered First).
Ranging from the stomping Comfort Me to the delicate
The Circle Married the Line, her music has abandoned the jazzy overtones
but picked up more variety and subtlety.
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