Arto Lindsay (born May 28, 1953, Richmond, Virginia) is an American guitarist, singer, record producer and experimental composer. He's probably best known as a founding member of the influential no wave band DNA, though his work after DNA has been quite prolific. He has a distinctive soft voice and an often noisy, self-taught guitar style comprised 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. ...show more

Arto Lindsay (born May 28, 1953, Richmond, Virginia) is an American guitarist, singer, record producer and experimental composer. He's probably best known as a founding member of the influential no wave band DNA, though his work after DNA has been quite prolific. He has a distinctive soft voice and an often noisy, self-taught guitar style comprised 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.

According to his website: Arto Lindsay has made a lifelong habit of crossing both geographical and musical borders. Born in the United States and raised in Brazil during the heyday of that country's pointedly eclectic tropicalia movement of the 1960s, the multi-faceted songwriter/producer/vocalist/guitarist has forged an international reputation as an artist whose work is as seductive as it is challenging. From his late '70s recordings of abrasive "no wave" through his acclaimed series of solo albums beginning in the late '90s, Lindsay has bonded rhythms and melodies from diverse cultures and genres in provocative new ways, crafting inimitable soundscapes whose impact can range from fragile pop pleasure to sheer sonic assault. It was the 1978 four-band sampler No New York (produced by Brian Eno) which brought an early taste of international (albeit underground) notoriety to Lindsay's first band, DNA.

Critic Lester Bangs admiringly described the trio's screamed vocals and deliberately primitive, speaker-shredding guitar as "horrible noise." Lindsay and his bandmates frequently inserted Portuguese phrases in their lyrics and even tried to appropriate Brazilian drumming techniques, "but nobody could really tell," he now recalls. While the group only lasted a brief time, its influence can still be heard in the work of countless noise rock experimentalists ever since. Lindsay remained a key figure in the downtown Manhattan scene throughout the 1980s, playing with early versions of The Lounge Lizards and The Golden Palominos, producing tracks for Laurie Anderson and David Byrne, collaborating with John Zorn, contributing lyric translations to compilations of Brazilian music on Byrne's label Luaka Bop, even popping up in the films Desperately Seeking Susan and Candy Mountain. With keyboardist Peter Scherer he founded the Ambitious Lovers, recording three albums (Envy, Greed, and Lust) which incorporated elements of brazilian, experimental, funk, rhythm and blues, and soul styles. ...show less