Lindsay was born in the USA, but spent many years in Brazil with his missionary parents.
He formed the no wave group DNA (not to be confused with the DNA who remixed Suzanne Vega's "Tom's Diner"). Later, he and Peter Scherer joined to form the Ambitious Lovers, putting out three albums: Greed, Envy, and Lust. These albums blended Scherer's keyboards with Lindsay's Brazilian Music influences and distictive, noisy guitar playing.
Lindsay went on to 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 Joćo Gilberto's "Este Seu Olhar", and updating his sound from 1980snew 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).
He has also appeared in tie-ins with other artists, such as a cameo appearance in the Madonna vehicle Desperately Seeking Susan and playing "skronk" guitar in the song "Hearing Aid" on They Might Be Giants's Flood.
ArtoLindsay got his start as a member of the seminal No Wave outfit DNA, a group that--like the other bands captured on the Brian Eno-produced 1978 compilation No New York--embraced the primitivism of punk but added a confrontational element of random noise.
Lindsay, whose nontraditional guitar work encouraged one critic to invent "skronk" as a descriptive term, went on to play in several bands that came out of New York's Downtown scene, including the Lounge Lizards, Golden Palominos, and Ambitious Lovers.
Yet Lindsay, who was born in America but raised in Brazil, also began to explore his roots, translating Portuguese lyrics and producing such legendary Brazilian songwriters as Caetano Veloso, as well as relative newcomers Marisa Monte and Vinicius Cantuaria.
Feeds |
Contact