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Audio CD, May 11, 2004
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Editorial Reviews

Arto Lindsay has gone from arty new wave icon (in seminal bands DNA and Ambitious Lovers) who sometimes focused on such sins as envy to genre-breaking solo artist who wants to talk about sex. His sixth solo effort, Salt, has sex on the album's artwork and in such half-whispered lyrics as "She covers herself in honey/Stretches but won't succumb." But what redeems this budding pervert is Lindsay's continued melding of global pop melodies, electronic beats and samba groove into an urban soul music appropriate for New York, Sao Paulo or anywhere else. A half step back from 2002's more abstract Invoke, Salt still eschews the near-shocking balladry of earlier solo efforts---it was during this period that he proved himself to be a first-rate crooner---but Lindsay has pulled the extremes toward the center for a more cohesive overall sound, never better illustrated than on "Into Shade." The results on this one are no less ambitious, but more consistently musical. --Tad Hendrickson

About the Artist

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 Tropicália 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) that 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, and 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) that incorporated elements of Brazilian, experimental, funk, R&B and soul styles.

The 1990s launched an ongoing series of solo releases — O Corpo Sutil/The Subtle Body, Mundo Civilizado, Noon Chill, Prize and Invoke. Many of these albums have been followed by a disc of remixes by a diverse group of electronic music artists from around the world, making explicit the connections between Lindsay’s aesthetic and such genres as drum-and-bass, illbient and underground hip-hop.

Lindsay’s critical reputation brought him back to Brazil to work as a producer on recordings by Caetano Veloso, Vinicius Cantuária, Gal Costa, and Carlinhos Brown, among others. A 1999 New York Times article on the legacy of the Tropicália movement hailed Lindsay’s contributions to "the finest Brazilian pop albums of the past dozen years," and he earned a Latin Grammy for "Best Brazilian Contemporary Pop Album" for his production work on the platinum-selling Marisa Monte album, Memórias, Crônicas e Declarações de Amor.

Pop musician, audio provocateur, sought-after producer: regardless of the title, Arto Lindsay is an artist.

1. Habite Em Mim
2. Kamo (Dark Stripe)
3. Personagem
4. Twins
5. Into Shade
6. Jardim Da Alma
7. De Lama Lâmina
8. Combustível
9. Make That Sound
10. Salt

Product Details

  • Audio CD (May 11, 2004)
  • Number of Discs: 1
  • Label: Righteous Babe
  • ASIN: B0001Z4PK0
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #359,385 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews

8 of 8 people found the following review helpful By M. Pantalone on August 25, 2004
Format: Audio CD
I can't add substance to the reviews above, but I would like to note that this album is magical and transforming -- as in, I listened to it this morning during drive time and floated through the traffic, scarcely noticing it and not being bothered by it. And as in, I've been playing it continuously now for about five days. It's that good.
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3 of 3 people found the following review helpful By WrtnWrd on July 20, 2005
Format: Audio CD
Though he can probably put out a relatively good CD every year for the next decade or so, the recent output of Arto Lindsay has been solid but disappointing. So it's a pleasure to report that Salt is his best work since Mundo Civilizado. It helps that he has his metaphysical lyrical bent under control, and concentrates on the body. Eroticism never seems to fail him; nor do his eccentric rhythms and innovations on the Brazilian sounds of the day.
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3 of 4 people found the following review helpful By Matt M. Bryant on June 4, 2004
Format: Audio CD
Arto Lindsay is not afraid of challenging his listeners, as has been evident in all his work. Though this album is probably the least challenging of his catalog, at least in terms of the atonal, terse (and wonderfully composed) skronk that finds its way into all his recordings, "Salt" is easily his most cohesive work to date. As always, the seamless mixture of electronic beats and soundscapes with lilting tropicalia and samba riffs is present here, but on this album, some may say it is even danceable. Though American xenophobes will probably write this album off as just another world beat disc, if it wasn't so labled by msucial ignoramuses, I could easily see many of its tracks finding its way into hipster lounge/clubs across the country. As always, Lindsay's feathery, well anunciated lyrics float above the textured percussion and a trebble clef populated by guitars, synthesizer and a string section. I would definitely recommend this to those who appreciate inventive truly inventive music-making. This is one of those CDs you'll play while driving with a friend, and they will inevitably turn to you and ask, "Who is this? This is great."
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Format: Audio CD
Arto Lindsay succeeds in effortlessly crafting an amazing mix of musicial genres that might seem incongruous in the abstract. Initially I was turned off after listening to the first two track. The first, habite em mim, didnt appeal to me but has improved upon subsequent listenings. The second, Kamo-dark stripe, I still feel is unbearably icky. But having got that out of the way, this is one of the most superb albums Arto has made in his solo career. Personagem incorperates a catchy theme of bouncing electronica played over an interesting guitar riff. Twins is perhaps my favorate track on the album. It begins with a studder-stepping riff which is joined by a floor shaking beat. The song continues to studder musically while Arto lays ontop his smooth vocals. Guitar noise joins the mix at exactly the right time. Arto punctuates the mostly English lyrics with a really catchy lyric in Portuguese. The next song, Into Shade, is beautiful, simply stated. The classical guitar interlude and close are breathtaking. jardim di Alma is nice and also notable for a bizarre refrain sung in what I assume is Japanese. this track and De Lama Lamina also employ guitar noise to great effect. The final two tracks are sexy and great as well. Barring the first two songs, this would be on my top 20 all-time album list.

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