Arto Lindsay - Cuidado Madame
Ponderosa Music & Art - April 2017
"When people talk about Arto Lindsay’s body of work, they often project a clear dichotomy. There is Scary Arto and Sexy Arto.
Scary Arto’s music is stormy and serrated and ruthless and almost deranged; evoking perhaps the glare and noise of New York City. Sexy Arto’s music is seductive and warm and textured and ethereal; evoking perhaps the dappled sunlight of Brazil. Both musics seem dreamlike. There are many kinds of dreams.
In 2014, Ponderosa Music & Art issued a unique and conceptually provocative double-disc anthology of Arto’s solo work, called “Encyclopedia Of Arto”. Disc 1 was a “Best of Arto Lindsay” survey of his solo albums. Disc 2 was something much more unusual: many of the same songs from disc one, performed live with Arto's signature haywire noise guitar (Scary Arto) juxtaposed against his lilting, slyly erotic, post-Caetano vocal style (Sexy Arto).
The choice to marry Sexy and Scary into a single performance was striking and bold. I cannot speak for Arto, but my read of the statement was that it rebuked the notion that his vision is somehow binary. It felt like fresh terrain.
This brings us to Cuidado Madame, the long awaited new album, where Arto’s mastery is in full bloom. Though the album certainly favors Sexy Arto, its fearlessness makes us let go of our boring, dichotomous ideas. On offer is the full, inimitable Arto Lindsay range of texture, noise, technology, ensemble playing, melody and poetry, sensuality and intellect.
You will find that you stop analyzing and parsing. You will find that you surrender.
To many kinds of dreams."
Beauty Pill / Washington, DC / Spring 2017
Arto Lindsay's first full- length album of new material since 2004’s Salt.
The album is titled after a little known 1970 Julio Bressane film about a housemaid who cheerfully and brutally murders one mistress after another. The literal translation is “Caution Madam”.
The album is produced by Lindsay and his cohorts and musicians Melvin Gibbs, Paul Wilson, Kassa Overall, Patrick Higgins, Ryu Takahashi and Thiago Nassif.
Candomblé rhythms (spiritual drum patterns that provoke possession and trance) served as a foundation for the record.
The process began with the recording of atabaques in Brazil. Lindsay wrote melodies and lyrics over these in a Brooklyn studio.
What began with a desire to let Afro-Brazilian and Afro-American church music play off each other turned into a record of songs. New England captivity narratives, Bubble Era Japan and the Bay of Naples provide other coordinates.