Arto Lindsay
| Arto Lindsay | |
|---|---|
Arto Lindsay at Moers Festival in 2010
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| Background information | |
| Birth name | Arthur Morgan Lindsay |
| Born | May 28, 1953 |
| Origin | Richmond, Virginia, U.S. |
| Genres | Experimental, no wave, pop, MPB |
| Occupation(s) | Composer, musician, record producer |
| Instruments | Guitar, vocals |
| Labels | ZE, Righteous Babe |
| Associated acts | DNA, The Golden Palominos, The Lounge Lizards, Ambitious Lovers |
| Website | artolindsay |
Arthur Morgan "Arto" Lindsay (born May 28, 1953) is an American guitarist, singer, record producer and experimental composer. He first achieved recognition as part of New York no wave group DNA in the late 1970s.
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 City, 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 rock critic Lester Bangs once described the group's ritualistic vocals, and deliberately primitive, speaker-shredding guitar as “horrible noise.”
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