Lead Us Not into Temptation

Editorial Reviews

Barnes & Noble - Steve Klinge
David Byrne returned to the land of his ancestors for Lead Us Not into Temptation, but although this musical accompaniment to David Mackenzie's film Young Adam was recorded in Scotland, musically it strays from the more traditional bagpipes and kilts. Instead, Byrne drafted younger musicians, including members of Belle and Sebastian and Appendix Out, to create this moody, ambient soundtrack. Byrne was inspired by post-rock bands such as Scotland's Mogwai several of whose members play on the album and Canada's Godspeed You Black Emperor, and Lead Us Not into Temptation exudes a similar grandeur, albeit in compact segments rather than through epic crescendos. Most of the ...
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Editorial Reviews

Barnes & Noble - Steve Klinge
David Byrne returned to the land of his ancestors for Lead Us Not into Temptation, but although this musical accompaniment to David Mackenzie's film Young Adam was recorded in Scotland, musically it strays from the more traditional bagpipes and kilts. Instead, Byrne drafted younger musicians, including members of Belle and Sebastian and Appendix Out, to create this moody, ambient soundtrack. Byrne was inspired by post-rock bands such as Scotland's Mogwai several of whose members play on the album and Canada's Godspeed You Black Emperor, and Lead Us Not into Temptation exudes a similar grandeur, albeit in compact segments rather than through epic crescendos. Most of the disc features brief instrumentals that blend Byrne's gentle guitar with stately keyboards and swelling violins and cellos, and even disconnected from the film, they're cinematic. "Seaside Smokes" builds upon a walking bass line that recalls Angelo Badalamenti's brilliant Twin Peaks soundtracks. The lovely interplay of piano arpeggios and mournful cello in "Locks & Barges" becomes something ominous when deconstructed in "Sex on the Docks." Byrne sings on the two closing tracks, the mournful waltz "Speechless" and the stirring, string-laden "The Great Western Road," but Lead Us Not into Temptation delivers wonderful Scottish soundscapes, with or without words.
All Music Guide - Sean Westergaard
Lead Us Not into Temptation started as music for the film Young Adam, but has evolved to sit somewhere between a true soundtrack and a David Byrne solo album. Since the cast and director of Young Adam were all Scottish, and Byrne himself was born in Scotland, the choice of recording with young Scottish musicians Belle & Sebastian, Mogwai appealed to him from a conceptual standpoint, and after director David MacKenzie assembled a listening list, Byrne chose a group of musicians to work with. The end result is that Byrne leaves behind all the international rhythms that have dominated his solo work and turned in an album of moody, subtle beauty. Byrne sketched out some musical ideas to have a framework established, then worked with the Glaswegian musicians to elaborate on the sketches. Oftentimes, this was accomplished by Byrne giving the musicians a set choice of notes to be used on any given piece, but allowing the musicians themselves the decision of what notes to play and when these sort of chance operations also play a part in both the music of John Cage and Brian Eno, among others. The music often echoes the gloom and dankness of the Scottish climate, sometimes mournful without being depressing or bleak, at other times tempered by a subdued optimism. Strings, piano, and Rhodes rise and fall in the mix, adding impetus to songs that could have too easily become static. Vocals appear only on the last two tracks: "Speechless," with its double-tracked, near unintelligible delivery, and the stately "Great Western Road." The only real departure from the basic mood of the album is a wonderful albeit brief arrangement of Mingus' "Haitian Fight Song" performed by the Hung Drawn Quintet. Lead Us Not into Temptation is somber and beautiful in a way listeners have not heard from David Byrne, and although he was probably pushed in this direction by the nature of the project, the fact is that this is one of the strongest albums of his solo career.
Rolling Stone - Barry Walters
Subtle electronic treatments twist Byrne's traditional acoustic instrumentation, and slow, restrained and sustained notes seem ready to explode at any second.

Subtle electronic treatments twist Byrne's traditional acoustic instrumentation, and slow, restrained and sustained notes seem ready to explode at any second.
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Product Details

  • Release Date: 9/9/2003
  • Label: Thrill Jockey
  • UPC: 790377013320
  • Catalog Number: 133
  • Sales rank: 95,176

Tracks

Disc 1
  1. 1 Body in a River (2:53)
  2. 2 Mnemonic Discordance (2:43)
  3. 3 Seaside Smokes (3:08)
  4. 4 Canal Life (2:28)
  5. 5 Locks & Barges (2:00)
  6. 6 Haitian Fight Song (2:50)
  7. 7 Sex on the Docks (4:25)
  8. 8 Inexorable (2:20)
  9. 9 Warm Sheets (3:01)
  10. 10 Dirty Hair (4:48)
  11. 11 Bastard (2:57)
  12. 12 The Lodger (4:16)
  13. 13 Ineluctable (4:20)
  14. 14 Speechless (4:04)
  15. 15 The Great Western Road (4:44)
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Album Credits

Performance Credits
David Byrne Primary Artist, Guitar, Vocals, Lap Steel Guitar
Georgia Boyd Viola
Stuart Brown Drums
Keith Edwards Alto Saxophone
Greg Lawson Violin
John Quinn Percussion, Drums
Fiona Stephen Violin
Robert Irvine Cello
Lise Aferiat Violin
Barry Burns Guitar, Piano, Keyboards, Hammond Organ, fender rhodes, Hammond B3
Alasdair Roberts Hurdy-Gurdy
Richard Colburn Percussion, Drums
Caroline Barber Cello
Una McGlone Bass
John Somerville Accordion
Raymond MacDonald Alto Saxophone
Graeme Wilson Tenor Saxophone
Raymond McDonald Alto Saxophone
Gregor Philip Sampling
Allon Beavosin Baritone Saxophone
Johnny Quinn Percussion, Drums, Timpani
Technical Credits
David Byrne Sound Effects, Producer, Contributor, String Arrangements
Charles Mingus Composer
Greg Calbi Mastering
Raymond MacDonald Arranger
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