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After his tenure as guitarist in the great no wave band DNA and punk-jazzers the Lounge Lizards, Arto Lindsay formed the equally exciting and (pun intended) ambitious Ambitious Lovers, while also being involved with the earliest incarnations of the Golden Palominos. Lindsay, a native of Brazil, began conflating the Brazilian pop music of his youth with the sonic density and avant-garde urgings he pursued as a member of the Lower East Side noise rock scene. As a result, his recordings as leader of the Ambitious Lovers are not all atonal skronk, but rather a deft blend of dance-pop and sonic adventurousness. With inestimable help from keyboardist and Ambitious Lover co-conspirator Peter Scherer, the first Ambitious Lovers release, Envy, retains more of a dissonant edge, and as such doesn't seem too far removed from Lindsay's days with DNA. The next record, Greed (noticing a pattern developing here?), was a slick, ebullient pop record that sounded like a direct descendent of the Brazilian pop recorded by giants such as Jorge Ben, Caetano Veloso, and Gilberto Gil. With plenty of up-tempo, danceable tracks, the noisy undercurrent was downplayed perhaps a bit more than noisemeisters would like, but the resulting album was nearly flawless. As was its follow-up, Lust, which, true to its title, was a touch more salacious, and undeniably great modern pop music. Although they don't sell records in the millions (or the hundreds of thousands for that matter), the Ambitious Lovers are one of the few bands to live up to their name record after record. Following Ambitious Lovers, Lindsay became more involved with Brazilian music, working on albums by such Brazilian luminaries as Marisa Monte, Joao Gilberto, Gal Costa and Tom Zé. In the mid 90's, he began issuing albums under his own name, starting with Aggregates 1-26 on the Knitting Factory label. This album was more of a return to DNA-type skronk, but after switching to Bar None for his next album Mundo Civilizado, the Brazilian influence was back, along with more prominent electronica elements. After several releases on Bar None, Lindsay became the first artist to release an album on Ani Difranco's Righteous Babe label (besides Ani herself, that is), beginning with The Prize. Invoke was released in 2002, followed by Salt in 2004, all dispaying his special synthesis of Brazilian music with the downtown avant-garde.
Arthur Morgan Lindsay (born May 28, 1953, Richmond, Virginia) is an American guitarist, singer, record producer and experimental composer. He is a 1974 graduate of Eckerd College in St. Petersburg, Florida.
He has a distinctive soft voice and an often noisy, self-taught guitar style consisting almost entirely of extended techniques, described by Brian Olewnick "studiedly naïve ... sounding like the bastard child of Derek Bailey"; his guitar work is contrasted frequently with gentler, sensuous Brazilian music themes.
Although Lindsay was born in the United States, he spent many years in Brazil with his missionary parents and came of age during the influential Tropicália movement of Brazilian culture, which included musicians Caetano Veloso, Gal Costa, Os Mutantes and Gilberto Gil, as well as the visual artists Hélio Oiticica, Lygia Clark and Antonio Dias. This time of cultural experimentation and artistic cross-pollination made an enduring impact on the young Lindsay.
In New York, Lindsay began his artistic ambitions as a writer, but quickly became interested in the art and music scenes that were evolving out of the New York punk rock scene at the time.
In the late 1970s, he co-formed the seminal no wave group DNA with Ikue Mori and Robin Crutchfield, although Tim Wright of Pere Ubu fame would soon replace Crutchfield. In 1978, DNA was featured on the four-band sampler No New York (produced by Brian Eno) which brought an early taste of international notoriety to the group, and which quickly became the essential document of No Wave. The famous rock critic Lester Bangs once described the group's ritualistic vocals, and deliberately primitive, speaker-shredding guitar as “horrible noise.”
In the early 1980s, Lindsay, and his particular style of guitar work, featured prominently in the early recordings of John Lurie's "fake jazz" outfit The Lounge Lizards and The Golden Palominos. These groups worked to break down distinctions between rock music, pop music, improvisation and avant-garde experimentalism. It was during this time that Lindsay established a collaborative friendship with John Zorn, playing in a number of his ensembles including Locus Solus.
After leaving the Lounge Lizards, Lindsay formed the Ambitious Lovers with keyboardist Peter Scherer. This music was decidedly more pop influenced and featured more prominent attention to Brazilian music, like samba and bossa nova. In an interview with BOMB magazine, Lindsay explained, "Listen to the Ambitious Lovers, the whole idea was Al Green and samba. That against this; this against that; a blend, a juxtaposition, loud/soft. There's no particular point in putting these things together. The point is what comes out in the end." Although their three albums, Greed, Envy, and Lust were Lindsay's first forays with a major record label, these albums genre-bending pop never caught on in the mainstream. The Ambitious Lovers disbanded in 1991, although Lindsay remained a strong working relationship with Scherer, and continued to record with him.
In the early 1990s. Lindsay began to rarefy his singing voice and launched a solo career which was significantly more oriented toward his Brazilian roots, singing in Portuguese more frequently, throwing in occasional covers of bossa nova classics like João Gilberto's "Este Seu Olhar", and updating his sound from 1980s new wave to more current types of electronica on albums such as O Corpo Sutil (The Subtle Body) (1996), Mundo Civilizado (1997), Noon Chill (1998), Prize (1999), Invoke (2002), and Salt (2004). These albums are unique in their reliance on collaboration between the musicians, producers and composers that Lindsay continues to work with; Lindsay has worked extensively with bassist Melvin Gibbs, guitarist Vinicius Cantuária, and producer Andres Levin to help create his sound.
Throughout the late 1980s and through the 1990s, Lindsay also composed a number of soundtracks, dance commissions and even continued to dabble in No Wave-influenced projects, most notably with the Arto Lindsay Trio, with Gibbs and Dougie Bowne, who released Aggregates 1-26 on the Knitting Factory label in 1995. He performed on the track "Counting the Roses," featured in the video game D2.
Over the years, Lindsay has lent his musical talents to – and collaborated with – such artists as: They Might Be Giants, David Byrne, Laurie Anderson, Alain Bashung, Marc Ribot, Cibo Matto, Bill Frisell, Animal Collective, Ryuichi Sakamoto, Krisma, and Kip Hanrahan, to name but a few.
In 1998, he collaborated with Arnaldo Antunes and Davi Moraes on the track "Sem Você" for the AIDS benefit compilation album Onda Sonora: Red Hot + Lisbon produced by the Red Hot Organization.
In 2004, he co-produced and played with Seb el Zin on the Anarchist Republic of Bzzz album, also featuring Marc Ribot, Mike Ladd and Sensational.
Lindsay has appeared in a number of films, usually in tie-ins with other artists. Lindsay had a cameo appearance in the Madonna vehicle Desperately Seeking Susan and can be seen playing "skronk" guitar in Downtown 81, a film about the art and music in the East Village featuring Jean-Michel Basquiat and Deborah Harry. He is also featured in Step Across the Border, a documentary on the musician Fred Frith, directed by Nicolas Humbert and Werner Penzel (1990) and in Kill Your Idols, a documentary directed by Scott Crary (2004).
Lindsay has produced recordings by Brazilian musicians Caetano Veloso, Tom Zé, Vinicius Cantuária, Gal Costa, Carlinhos Brown, Marisa Monte, Adriana Calcanhotto, and Lucas Santtana. He also co-produced the first album of Anarchist Republic of Bzzz.
Artist projects and collaborations 
From Lindsay's early days in New York amidst the burgeoning art and music scene of the East Village, he was able to befriend and collaborate with a number of visual artists who have gone on to important careers in art. With Diego Cortez (born James Curtis) — who would become the artistic director for all his solo endeavors starting in the mid-1990s — Lindsay became immersed in an art community that included Jean-Michel Basquiat, Nan Goldin, Francesco Clemente and Andy Warhol. Since then, Lindsay has included the work of Goldin, Kara Walker, Matthew Barney, Philip Taffe and Frédéric Bruly Bouabré on his albums.
He has also collaborated with Canadian artist Rodney Graham at an exhibition at Deitch Projects, and as part of a sound-art exhibition at PS1, a gallery in New York.
Arto Lindsay has written the epilogue for the official biography of the German experimental band Einstürzende Neubauten No beauty without danger (German title: Nur was nicht ist, ist möglich).