Although devoid of the hype many artists get, Leslie Feist deserves to be heard. The simplicity of her solo debut, Let It Die (2004), accents Feist’s breathtaking vocals through tracks that fit together like a puzzle. One rarely finds an album which flows as smoothly as this one does; each track is placed right where it belongs and nothing about it seems out of place. From subtle, simple guitar ballads to quirky, catchy pop, Let It Die puts typical pop music to shame.

Most people would agree that strong vocals are essential to a decent album, but it is surprising how few popular artists carry off this necessity. Leslie Feist, however, offers excellently smooth vocals with none of the tampered-with sound of many popular artists. Entirely natural, versatile, and full, Feist’s vocal talent is awe-inspiring.

Let It Die begins with “Gatekeeper,” a delicate track which sets the tone for the entire album. Feist’s smooth, soft vocals give this song a touching, personal quality. “Mushaboom,” the first single off this album, has a catchy pop sound with a great melodic feel. Next is the title track, a lament for lost love which Feist pulls off without sounding sappy or pathetic.

Let It Die continues with tracks such as the upbeat “One Evening,” “Leisure Suite,” and “Lonely, Lonely,” which is as mellow as the title implies. Folk-tinged “When I Was a Young Girl” is one of the albums highlights. Once again, Leslie’s vocals bring the track to life. “L’Amour Ne Dure Pas Toujours,” which translated means “Love Does Not Last Forever” adds a nice, eclectic touch to Let It Die.

After two fantastic remakes, “Secret Heart” and “Inside & Out”, Let It Die concludes with “Now At Last.” There is no better way to finish the album than with this lovely, subtle track. It ties up any loose ends in a fitting way, leaving the listener with a feeling of calmness. Overall, Let It Die is pop as it should be: natural, haunting, and completely satisfying.