Solex is the nom de musique of the Amsterdam secondhand record shop owner Elisabeth Esselink, who in the nineties had been a member of indie pop act Sonetic Vet. At De C&D, her record store, the discount bins proved a valuable archaeological source of copyright free found sounds that could be plundered, deconstructed and rebuilt into Spectorised sound assaults, using her vintage eight-track sampler; impressive collages that form the basis of her delightfully surreal and exuberant stream-of-consciousness lyrics, multi-track vocals and left-field tunes. The results have little in common with other sample artists but have a quirkiness and humour that perhaps are closer to British plunderphonic artists such as People Like Us or Listen With Sarah.
By the time of this third album (the others being Solex Vs. The Hitmeister in 1998 and Pick Up in 1999, both recommended), Solex had honed her art and toured extensively with live musicians who had helped translate her found sound concoctions into the context of an onstage performance, so that this becomes a notable progression from the earlier albums, and features Geert De Groot on guitar and Robert Lagendijk on drums, whilst retaining the sense of fun and spontaneity that typifies her musical approach.
On her website Solex describes her found sounds as "Old vinyl, crappy un-sellable CD's (again), television (Wheel Of Fortune!), the `better looking' talk show hosts (they seem to sound better as well), noisy deaf people, films, bootlegs (again), radio, street-noises and animals. The noisy deaf people were my favourites. They do know what they're talking about, but don't have a clue what they sound like (opposite to most musicians)."
In lesser hands, it couldn't work, but Solex has a real gift for creating works of art from these unlikely audio fossils, and is never less than engaging, providing here over 40 minutes of fresh musical weirdness.