Elisabeth Esselink, Solex to her record company, is well-known for stitching songs together by sampling the product in her second-hand record shop. I've been playing her records on my radio show since the first single, "Solex All Licketysplit," a couple of years ago but this interview only occurred when she asked me to stop emailing her my playlists to try and cut down the amount of crud bombarding her inbox. Not an auspicious start, but it resulted in a series of mails which concentrate more on her methodology and than it does on any other aspect of her work. In the relatively short time she's been releasing records, she's put out a couple of albums and half-a-dozen singles on Matador and a few splits and compilation appearances for other labels including Fierce Panda.

Yes, I was 17 when I joined the first band. I was a singer. After that one a few others followed in which I was a singer or a drummer. I did release one mini-album and a single with Sonetic Vet.

They were released & distributed by Play It Again Sam. Benelux only! You cannot order them any more (I hope)...probably you can find 2nd hand copies in the cheapo bins ???

Solex doesn't really sound singer-songwriter-ish but actually that's exactly what it is. I've been in too many democratic bands far too long I guess. It actually came a bit by surprise that I liked it that much...

Yes, although my former band wasted so much time on chatting & rehearsing...

It is as big an advantage as it is a disadvantage. It depends on the situation. When it comes to song-writing it's a big advantage, if it comes to organising stuff like...picking up the van for a gig, book keeping etc it's a disadvantage.

I start with a loop. This loop functions as a click track for all the rest. The rest of the samples have to fit with this loop rhythmically and melodically.

Neither one. I don't look for anything particular up front. When I bump into a nice sample I immediately record it and use it in the proper song. I never sample something that doesn't fit on to a loop immediately.

Normally I work on about 8 or 10 songs at the same time. Just because I don't want to risk bumping into a great sample without being able to use it. Maybe 1 song takes 2 days.

Not at all !!!

I use an Akai S2000 sampler and a Roland digital 16-track recorder (Roland 1680). One midi Casio keyboard to trigger the samples. No computer.

Aphex Twin, Matmos...nice bunch of lovely freaks. I am a huge Aphex Twin. fan. He's very good at integrating experiments into a pop format. It is still pop music, oh yes ! Some experiments are so much about the sound that it doesn't make any sense any more. (30 minutes of bleeps...come on)

None. I only sell 2nd hand CDs.

Probably about a 120 recordings per Solex-record.

What about it ? I don't clear samples, it's immoral to do so I think !!!

 Have you ever had anyone seeking compensation for an unauthorised sample?

No...not yet. Musicians should make an effort to let anyone sample them for free. A sampler is an instrument just like a guitar. Unfortunately as it is now, a guitar with expensive and cheap chords.

That's different. I don't believe in paying an amount of money. I do believe in percentages. If you pay for a sample you would pay, for example, $10.000. The majority of released songs will never make any money for a musician. If you record a cover song, then the original writer gets a percentage.

Sure. The "hook" is worth a percentage. Again: I believe in percentages, not in vast prices!! The original artist should get a percentage of the royalty rate (which is a percentage as well.) I don't see why 'the original artist' should get any money for something that probably will never make any money for 'the sampling artist'. If it does, the original artist should get a percentage.

No....have you ???

Are you joking ???

At the final stage

Not in my life

It's no nonsense to me. The lyrics are small sketchy stories about not-every-situations.

Well, every song needs a title. I agree with the suggestion that a good song title is more important than good lyrics.

A Solex is a scooter from the 60's. A very slow one. Originated in France. They still make them, but now the factory is based in Budapest, Hungary.

Randy is a nice & talented guy from Pittsburgh. He might be a better porn-star than artist however.

To avoid the copyright clearance hassle.

I wanted to make a poppy & happy 2nd. album...what do you think???

Ever heard of the term "reflection"? Most people think the 1st one is more poppy & happy. They consider the 2nd as more raw & experimental...I found out it's useless to have an approach in the first place. Next time I'll come up with one after the record is completed....

Different...ask me again in 5 years.

No...the first album took me 2 months, you can double that for the 2nd.

It took me a few days to get used to them but now I'm totally hooked !!

Fun, fun, fun.

No, I also make remixes for other musicians. It's about fun not about respect.

Yes, definitely. I do add sounds if I can't do the job with the original element however.

Thank you, but that song is not really a remix. I took the complete instrumental Khan song and tried to write lyrics and melody line for the vocals to it. So it really is a Karaoke song. Khan just asked me if I liked the idea of writing a vocal part for a song off his record, "Passport." Most songs are like nice invitations for vocal parts anyway, so to me it was a real treat to do the job for him.

This just sums up what most appeals about Solex records: the apparent simplicity that belies the underlying depth. Elisabeth's answers are the same. Almost every question is greeted with a seemingly glib response that invites further investigation: "Most songs are like nice invitations for vocal parts anyway." How can you pass that up? What does it really mean? What lies behind that thought? The way that she works, simultaneously building several tracks at once from the base, simple, skeletal framework, into a detailed mosaic of samples but without altering the surface appeal of the initial loop. That's why there's so much mileage in her music, and why this interview could've gone on much, much longer.

Write to Elisabeth c/o C&D, Solex, Koningsstraat 52 BG, 1011 BG, Amsterdam, The Netherlands. For discography and so on, check out the Matador web site: www.matadoreurope.com.