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March 13, 2000
Solex
By Gerry Belsha
And now for something completely different.
The word unique is overused so much by critics when describing bands or artists. Very rarely do you find a band that actually is unlike any other. Solex is truly unique. Solex is the creation of Elisabeth Esselink. Solex really isn't a band. Actually Esselink is Solex. Her first CD was recorded in her bedroom on a eight-track recorder. Containing out-of-nowhere beats and samples, haunting vocals and a DIY low-fi philosophy Solex vs The Hitmeister (Matador) featured a fictional battle between Esselink and a music business entity.
Her second CD Pick Up (Matador), recorded on a 16-track in the basement of her Amsterdam record store, still has the DIY feel of the debut, but it takes things out a little further, with a more jazzy rhythmic feel added to the hard-hitting beats and featuring songs inspired by imaginary conversations Esselink had on a toilet. The ingenius Esselink avoided the sample police on Pick Up by bootlegging concerts of other bands and then sampling those bootlegs. Esselink recently spoke with Check This Out! about her method of songwriting and recording, pop culture and the limitations of sampling.
Check This Out!: The way you record your records is so inspiring: It's that whole bedroom culture thing. Although you actually do your recording in the basement of the second-hand record store you own, correct? And from what I understand you can barely stand up straight in it?
Elisabeth Esselink: Actually the first record (Solex vs. the Hitmeister) was recorded in my bedroom, the second (Pick Up) in the basement of my shop. I had to move all the recording stuff 'cause it took up too much space. Yes, it's true, I can stand up straight in the basement but most people can't. I'm short for Dutch standards, but then again I think the Dutch are the tallest compared to other countries. CTO: When I interviewed Dmitri from Paris, he spoke about the best music around is being recorded at this very moment by some kid in a bedroom somewhere. It is a very punk rock ethic don't you think? You have all the power. Do you find that type of recording liberating?
EE: Yes, it means you don't have to kiss anybody's ass.
CTO: It's actually quite interesting to think that more primitive recording equipment would, in a way, give
you more freedomEE: With primitive equipment you don't have to think about techniques that much. In that way the songwriting becomes less rational and more intuitive.
CTO: What inspired you to record for the first time. On Pick Up you recorded on 16-track. How did that differ
from the first CD. What were the advantages. What were the disadvantages.EE: The first one was recorded on an analog 8-track recorder. A normal cassette tape fitted in. Still very good sound quality I thought. I sampled with a very outdated 70's sampler. The second I recorded on a digital 16-track, and I sampled with a little better sampler. The big advantage of the 16-track was that I could even do more by myself. (recording, mixing and producing). For the first record I still had to rely on a professional studio and sound engineer. Although the sound of my demo was o.k., I still thought it could use a little pep. I cannot think of any disadvantages.
CTO: I saw an interview with you recently where you spoke of the dangers of 8-track recording, the fact that you might accidentally erase something? Did that happen much?
EE: Yes, sometimes for the better and sometimes not. These 'accidents' also happen on my digital 16-track. So sometimes I keep it that way, and sometimes I can correct it in an edit-mode.
CTO: How much input does your live band have on your songs. Did you record everything before they even heard it?
EE: No input in the actual songwriting. I recorded all the songs before they heard it. I did ask the drummer and the guitarist to jam along with a click track or drum loop. I recorded these jams and sampled bits and pieces, or just took out only one part of the jam. They didn't know where the jam/song was going to. But neither did I.
CTO: How difficult is it to transfer your stuff to a live band? Do you feel you lose anything in the translation
or does it add a different quality.EE: Some songs are easier to translate than others. When the quality of a song is mostly relying on atmosphere it can be hard. Things as PA and other equipment, sound engineer, acoustics of the venue and audience can play a big part in realizing an atmosphere. Sometimes I really miss a kind of atmosphere in the live-setting. A big big plus I think is that it gives the songs much more dynamics. Good catering always helps.
CTO: Tell me about your samples for the second LP. I understand that a lot of it was sampled from bootlegs you made from shows you went to? Why did you do it that way? What bands did you sample? There seems to be more of a jazzy feel to Pick Up.
EE: I sampled from these recordings to get away with uncleared samples more easily. Apart from the fact that I simply don't have a budget to clear all samples, I also think it's outrageous to pay huge sums for a song that probably will never make big money anyway. These prices kill good music, I think. I compare it with having to play the tambourine cause you cannot buy a drum kit. I cannot reveal the bands I sampled from, think I still owe them some money. About the jazzy feel, yes, I recorded many jazz combo's for sampling.
CTO: How do you write your songs? Do you come up with an idea for a sample and build it all around that or is it more like a cut and paste type of thing, just going from one idea to the next? I know when I did recording in my room on a 4-track, I would get an idea for a sample, pull out the vinyl, record, go to another record, etc. and by the end of the night the floor of my room would be covered with coverless records.
EE:Normally I work on about eight songs at a time. Every good sample I find has to fit in with the rest of the samples and the drum(loop). Rhythmically and melodically. So there's a bigger chance to that if I work on more than only one song. Most of the times I don't really search for a specific sample. It's more a kind of trial-error process. So, lot's of record sleeves on my floor too !!!
CTO: Do you find any difference in the appreciation of your music between Americans and Europeans? Have you been getting positive feedback?
EE: Not really a difference in appreciation. Yes a difference in expression. Some cliches are true, Italians really ARE passionate. I get lot's of very sweet e-mails from all over the world. That's what you get when you put your e-mail address on the record sleeve.
CTO: What do you feel is the main difference in the two cultures?
EE: Wow, that's a hard one. In America alone there are so many cultural differences between States. I would like to live in America, but I want to die in Europe.
CTO: Do you write all your lyrics? What inspires you lyrically.
EE: Yes. Not everyday situations.
CTO: What bands inspire you these days?
EE: Not a band in particular. I do listen to a lot of hip-hop lately. I never really liked it because I was always missed the melodies. One way or another this has changed and I'm really excited about it.
CTO: Were you in any bands before Solex? What were they like, what did you do?
EE: I was a singer in a bossanova band and a guitar noise band. I was a drummer in a (not so-good) girl band.
CTO: Where did you get the name Solex from and why Solex?
EE: Actually Solex is a French scooter from the 60s. It's a real slow one. Solex is also the name of my cat. Her mother's name is Harley 'cause she snored really loud. The kitten didn't snore as loud as the mother, so that's why . I just thought it was a good strong name for the music too. Never ever had any regrets about this name.
CTO: Two years from now what do you think your music will sound like? Do you think you will ever feel restricted
by sampling?EE: As long as musicians have to pay clearances for sampling, music will be influenced by that. I can't call Puff Daddy low fi, he has the money to sample complete choruses or verses.
CTO: When will you be coming to the United States next?
EE: May-June this year, YEAEAEAEAEAH !!!!
CTO: What do you want your music to say and do? What is the purpose? Why do you make it?
EE: I'm not a politician, I'm not a writer, I'm not into fashion, I don't want to frustrate other musicians, don't want to scare my parents. I do know other ways to spend my time, but this is the nicest by far.
CTO: Who is Randy Costanza (subject of "Randy Costanza" on Pick Up?
EE: He will be the next great artist coming from Pittsburgh (right after Andy Warhol).
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