Suggested to me because of my love for bands like Luscious Jackson, Portishead, and most importantly Morcheeba, Solex came as a surprise. I knew nothing of what to expect and was pleasantly shocked to find that 1999’s Pick Up is an under appreciated gem.
Solex is not a band. Solex is consists of only Netherlands native Elisabeth Esselink. Esselink, a former member of indie pop group Sonetic Vet, wanted to make her own music and began to experiment using outdated equipment and mixed old samples from records with her own kitschy pop style not too far removed from other crazed pop styles presented by Bjork, Sneaker Pimps, and Beth Orton.
In 1998, Esselink made her debut with Solex Vs. The Hitmeister. The album earned the musical innovator her own fan base focused on her spacey vocals, detached electronica, warm sounds, and fluid movement. It was a unique record that spoke directly to and about Esselink’s character.
A year later, Solex reappeared with the Matador release Pick Up. Esselink took it upon herself to reassemble crappy records into creative bursts of energy and song. The album is similar to many of my indie-pop electronica records, but just beneath I find a freedom of purpose and lack of rules common in only a few bands (Stereolab and Belle & Sebastian come to mind). Anyway, Pick Up isn’t a masterpiece, but it is a fun an ultimately fulfilling album.
The key to the musical success of Esselink’s vision is that she’s obviously having a great deal of fun. Her lyrics flow easily from her silky throat. The multiple records that back her at every tempo while she sings surround her easily and beautifully. Each track is similar in assembly, but completely different in execution. Nobody, anywhere can pull off such a strange musical feat as Esselink.
Pick Up contains fourteen songs each of which blurs the lines between indie pop and another genre. Be it blues, calypso, hip-hop, or whatever else the resting song is an unexpected treat of an album must definitely worthwhile to any fan of indie pop or electronica…or even better, both.
Pick Up kicks off with the title track. Melodramatic and masterful, the song begins lowly and quickly picks up in energy and intensity. I adore Esselink’s use of a shimmering trumpet, rockabilly guitars, and an intense beat. The lyrics have little to do with the overall feeling of the song. Esselink’s voice is lovingly layered over her many samples.
The album continues with the strangely off-kilter Randy Costsanza. Odd instruments (klezmer, recorder, tympani) seem on the surface to be strung together in no discernable order. But, as the song continues a consistent and energetic vision emerges. Once again, Esselink’s vocals regardless of perfection are only second to the artistic arrangement of old, obscure, and offbeat songs.
Oh Blimey! is amazingly appealing with thumping stop-and-go percussion that compliments, not overwhelms, Esselink. It’s impossible to classify this music aside from simply by Solex. Unquestionably, very few artists today feel this kind of freedom in their music. The freedom she feels to emote and to create is refreshing. Each song is brief so as to not wear out in novelty…an approach that works nicely on this album.
Delicate, trippy, fantastic, The Burglars Are Coming! screams for attention and yearns for appreciation. Esselink’s vocals are distinctly swing with repeated nonsensical words and phrases. I’m impressed by the spontaneous feel of each track. Obviously, Esselink has taken great care in creating this music. Such care can cause songs to sound contrived. Solex sounds genuine.
Finally, of detailed note is Escargot!, a sexy and sensual song. Resting somewhere between trip-hop and beach music from the 1960’s, the track is pure genius and lively as hell. The snare drums, plucked bass, and muted trumpet are without question the stars of this track. Once again, Esselink has taken it upon herself to approach music from a completely free and different point of view.
A few other tracks worth briefly mentioning include: Dork at 12 O’ Clock, Athens – Ohio, Superfluity, and Five Star Shamberg. Not one of these fourteen tracks is annoying. All offer different perspectives into the obviously twisted mind of Esselink. A few songs don’t strike as closely to my heart. Chris the Birthday Boy, Snappy & Cocky, and Another Tune Like ‘Not Fade Away’ aren’t bad songs by a long shot but make the album worth something less than five stars.
Solex a.k.a. Elisabeth Esselink presents an interesting and revolutionary style of music. I want to give Pick Up five stars, but I also want to allow for her to create an even better album. An album that will appeal to a wider audience. Her idea to blend together multiple obscure records with her own indie pop vocals is insanely perfect. Pick Up is a wonderful representation of this vision, even if it’s not quite perfect.
I highly suggest Pick Up to fans of indie pop and electronica (more specifically trip-hop). It’s not an album for everybody by a long shot, but if you’re willing to open your ears and mind there are more than a few songs of note here.
Rating: 4/5 stars
Track Listing:
01. Pick Up
02. Randy Costanza
03. Dork at 12 O’ Clock
04. That’s What You Get With People Like That…
05. Oh Blimey!
06. The Burglars Are Coming!
07. Superfluity
08. Snappy & Cocky
09. Five Star Shamberg
10. Chris the Birthday Boy
11. Athens - Ohio
12. Escargot!
13. Another Tune Like ‘Not Fade Away’
14. That’ll Be $22.95
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Since the release of Pick Up, Solex returned in 2001 with the equally interesting Low Kick and Hard Bop also on the Matador label.
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