"Pode Ficar/You Can Keep It" is emblematic of Lindsay's approach. He croons the tune's dada-like lyrics in Portuguese, layering his homely but workable voice over a musical bed that initially seems as soft and inviting as a feather mattress. Listen a bit more closely, though, and occasionally dissonant tones can be heard in the background, buzzing like insects crawling around the seemingly pristine borders of paradise. "Prefeelings" takes things a step further: On it, Lindsay's gentle warbling (in English this time) is juxtaposed with the bark of Beans, a member of the Anti-Pop Consortium, in much the same way that industrial racket rubs against Lindsay's light-fingered guitar, a mysterious sax line and south-of-the-border rhythms. Then there's "Ex-Preguica/Ex-Laziness," whose lovely melody curdles in the presence of a mournful string section.
For Lindsay, musical boundaries are meant to be crossed, which means that anything can happen at any moment, be it the infusion of dub that marks "Unsure" or the sections in the generally relaxed "Resemblances" ("Stay calm/Keep calm," Lindsay keeps repeating) when the instruments mass in a sonic wave that threatens to engulf everything around them. The mutability of the compositions demands active listening, and folks who wish ambitious artists would quit screwing around and just sing the damn song will no doubt be frustrated by Prize. But those who feel that the most boring way to travel from one point to another is via a straight line should enjoy taking the long way home.