PLY - Sans cesse (LP) + PLY - Sans cesse - Live (K7)

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PLY-Au point où j'en suis 1. PLY-Au point où j'en suis

PLY-Le Pays de l'alcool (live) 2. PLY-Le Pays de l'alcool (live)

22,00 €

Vinyl record (LP - 12' - duration : 30'44") published with a tape (PLY- Sans cesse - Live - duration : 34'24"), limited edition, 50 tapes numbered.

Limited edition. Free digital version.

Out on october 10th.

Available in digital version on

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Ply is a duo, formed of Mathias Delplanque and Guillaume Ollendorff.

Although they had not met yet, both released albums in 2001; Mathias under the moniker of Lena and Guillaume as Tsé.  Some of the critics compared the two records, and indeed they sounded very similar. When they actually met in 2011 in Berlin they immediately began to play music together.

"Our music is always created by sedimentations of improvisations followed by a search for harmony - or even the erotic – between layers of sound, voice and lyrics. We realize that to many ears we sound “experimental”, but we still consider our work to be a kind of chanson française."


A recording session with the drummer Pierre Bouglé, various setups of guitars recorded by Mathias, and peaceful editing process over the last three years form the fabric of their first release, Sans Cesse. The lyrics are written by Guillaume, who also borrows from various sources, including Mary Stuart.


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Mathias Delplanque

Mathias Delplanque is an electronic music composer and an improviser. He released around thirty records under different pseudonyms (Lena, Bidlo, The Floating Roots Orchestra...) and plays regurlarly with different artists from various musical backgrounds (E’Joung-Ju, Black Sifichi, Philippe Foch, Rob Mazurek...).

Guillaume Ollendorff

In addition to his various editorial activities, Guillaume Ollendorff produced two album under the name of Tsé and played with different bands like Colder, Mainstream Ensemble, Scratoa. He also plays guitar occasionally with the Hyperion Ensemble, the orchestra of the «spectral music» composers Ana-Maria Avram and Iancu Dumitrescu.

Limited edition

PLY - Sans cesse (LP)

Side A

1 - Tapis perses (12:32)

2 - Au point où j'en suis (3:36)

Side B

1 - Sans cesse (5:43)

2 - Vers (5:38)

3 - Lament(3:16)

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Sans cesse was recorded and mixed in Nantes & Berlin between 2013 and 2016.

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Mathias Delplanque : Electronics, guitars, noise, editing, mixing.

Guillaume Ollendorff : Lyrics, vocals, guitars, electronics, editing.

Pierre Bouglé : Drums, guitars.

Mastering : Norscq

Photos : Willy Durand / www.rosesetpoireau.fr

Labels : Mary, Queen of Scots in "white mourning" of François Clouet (details).

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PLY would like to thank Colyne Morange, Cristelle Barillon, David Sanson, Jerzy Budzinsky, Julien Mérieau, Willy Durand et Armelle Pain.

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PLY - Sans cesse - Live (Tape)

Side A

1 - Tapis perses (7:35)

2 - Julie (4:32)

3 - Vers (5:16)

Side B

1 - Le Pays de l'alcool (3:27)

2 - Jana (6:47)

3 - Sans cesse (7:37)

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Recorded live at La Fabrique Chantenay (Nantes) on april 15 2016.

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Mathias Delplanque : Samples, bass, whistles and noises.

Guillaume Ollendorff : Lyrics, vocals, guitars and noises.

Photographie : Willy Durand

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PLY would like to thank Marie Chapelain.

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Review

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PLY – Sans cesse

Ply è la nuova avventura musicale di Mathias Delplanque e Guillaume Ollendorff. I due musicisti si sono incontrati a Berlino cinque anni fa e da allora hanno continuato a suonare insieme. Sans Cesse è nato lavorando su materiale registrato tra il 2013 e il 2016. In scaletta cinque brani per poco meno di mezz’ora di musica. Tanto basta a definire le coordinate della psichedelia notturna e nebbiosa dei Ply. La voce di Guillaume recita versi sugli strati di field recordings ed effetti saturi di feedback creati da Mathias (Tapis Perses). La batteria dell’amico Pierre Bouglé aiuta a strutturare le liquide trame dei restanti brani in scaletta. PSICHEDELIA LIQUIDA.

Roberto Mandolini / Rockerilla

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PLY – Sans cesse
Au Milieu Erotique

Bedächtig, gar andächtig mutet Sans Cesse, das Gemeinschaftswerk von Mathias Delplanque (Lena) und Guillaume Ollendorff (Tsé) an, das soeben als die fünfte Veröffentlichung des französischen Warm-Labels erschienen ist. Und von der die ersten 50 LPs ein zusätzliches Tape (Sans Cesse live) mit alternativem Material enthalten. Aber wie auch immer: Unterstützt von Schlagzeuger Pierre Bouglé entfaltet Sans Cesse feinsten Ambient Brut, der zudem von lakonisch rezitierter Literatur gestützt wird.


Über einen Zeitraum von rund drei Jahren hinweg durften Tapis Perses, Au Point Où J’en Suis, Sans Cesse, Vers und Lament in aller Ruhe heranreifen. Wieder und wieder wurde das Ausgangsmaterial behutsam editiert, bis sich die nun vernehmbaren Versionen auch ihren Schöpfern als vollendet offenbarten. Jenes hohe Maß an Langmut und Mühe, das Mathias Delplanque und Guillaume Ollendorff ihrem gemeinsamen Debüt haben angedeihen lassen, erweist sich mit jedem Ton und jeder Verschiebung als gewinnbringende Investition.


Warme Flächen schmiegen sich an eher kühl bis bedrohlich anmutende Akzidentien, die Zeit dazwischen wird zum Ausholen von Harmonie und der Erzeugung von Suspense genutzt – und bis an die Grenzen ihrer Belastbarkeit geführt. Dennoch erachten Ply ihre Musik als eine Art Chanson. Und selbst auf das fragmentarisch Liedhafte ihrer lyrischen Scapes reduziert, offenbart sich ein weiterer Faktor, der sich auf Sans Cesse entfaltet: Erotik. Wenn auch nicht als Ausdruck von mausgrauem Rumgebumse oder einer Dessous-Modenschau. Aber anregend bleibt die Scheibe in jedem Fall, in jedweder Ausprägung.


Stephan Wolf (amusio)

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PLY – Sans cesse

I Ply è la nuova avventura musicale di Mathias Delplanque e Guillaume Ollendorff. I due musicisti si sono incontrati a Berlino cinque anni fa e da allora hanno continuato a suonare insieme. Sans Cesse è nato lavorando su materiale registrato tra il 2013 e il 2016. In scaletta cinque brani per poco meno di mezz’ora di musica. Tanto basta a definire le coordinate della psichedelia notturna e nebbiosa dei Ply. La voce di Guillaume recita versi sugli strati di field recordings ed effetti saturi di feedback creati da Mathias (Tapis Perses). La batteria dell’amico Pierre Bouglé aiuta a strutturare le liquide trame dei restanti brani in scaletta. PSICHEDELIA LIQUIDA.

I Ply sono Mathias Delplanque e Guillaume Ollendorff, formazione francese nata nel 2011. Forti di un background artistico notevole, i due hanno iniziato i lavori per “Sans Cesse” nel 2013 e, dopo una lunga gestazione, oggi il disco vede finalmente la luce. Si tratta, di fatto, di un EP che contiene cinque tracce per circa trentadue minuti totali di durata il cui genere è ascrivibile alla voce elettronica sperimentale. Il disco si apre con “Tapis Perses”, oltre dodici minuti di suoni scarni ed essenziali, di accompagnamento lineare e ridotto all’osso, ma capace di generare in alcuni momenti un senso di pathos, su cui si poggia la voce di Guillaume Ollendorff. La successiva “Au Point Où J’En Suis” è caratterizzata da suoni sinistri, ideali per fare da soundtrack ad un film dell’orrore. Percussioni minimali scandiscono rumori macabri, indecifrabili, che vogliono generare choc nell’ascoltatore. I suoni elettrici della titletrack in alcuni momenti sembrano invece provenire dal cosmo, ma nel complesso il mood resta lo stesso dell'episodio precedente. Il sound di “Vers”, invece, è più pieno e corposo, ma non si svincola da quegli schemi a cui i precedenti venti minuti abituano. Il finale è affidato al pezzo più breve del lotto, “Lament”: espressioni elettroniche nostalgiche suggellano “Sans Cesse”, testimoniando la nascita di una bella realtà nel variegato mondo dell’elettronica sperimentale. I Ply hanno senza dubbio delle idee interessanti e riescono a tradurle in soluzioni efficaci, ma scelgono consapevolmente di restare all’interno di un genere che, per sua stessa natura, è di nicchia.

Piergiuseppe Lippolis / MusicMap

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PLY – Sans cesse

In 2011 Mathias Delplanque and Guillaume Ollendorff met up in Berlin and started playing music together, and at one (early) point they recorded a session with drummer Pierre Bougle and from that they sculpted the music that is now released as their first LP, 'Sans Cesse', which means non-stop. Delplanque is someone I heard music of, quite a bit actually, under various guises such as Lena, Bidlo, and The Floating Roots Orchestra, and from Ollendorf also, but a lot less. His solo release 'La Ralentie' was reviewed in Vital Weekly 631. He music always deals with vocals, as far as I remember. The music they produce as Ply is also text heavy, in French, and as I wrote elsewhere it is a language I haven't mastered. When it comes to the language in the written form I might be able to decipher a bit, but spoken, as Ply does here, is not something I can comprehend; reading them on the cover realized I overplayed my hand that I might be able to understand them. That is a pity as the voice is very much on top of the music, and the music, more or less improvised around the occasional rattling on the kit, drones generated from cymbals and a bit of laptop electronics, is pushed somewhat to the background. In 'Tapis Perses' this is all very subdued, but in 'Au Point Ou J'En Suis', the much shorter piece on the first side, they rock on all out, with some loud outbursts but with a similar feeling for drama. On the other side there are three pieces in which Ply explores their heavy, slow rhythm music along with, along with this heavy guitar sound, wailing off into feedback and voices/vocals (they are no all with lyrics, I think). I quite enjoyed it but it was a bit too much for me; the grand gestures, the dramatic voice. There is no doubt something to felt right there, and I simply may not feel it.

VitalWeekly

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PLY – Sans cesse

Our music is always created by the sedimentations of improvisations followed by a search for harmony – or even the erotic – between the layers of sound, voice and lyrics,’ they say. ‘We realise that to many ears we sound “experimental”, but we still consider our work o be a kind of chanson française.’ Ply is Mathias Deplanque and Guillame Ollendorff, artists with careers in their own right, drawn together after noted parallels between the albums they each released in 2001 provided a certain intersection which was cemented when they met in Berlin in 2011. Sans Cesse is the result of three years of work, which developed through a recording session with drummer Pierre Bougle, various setups of guitars recorded by Delplanque and a leisurely editing process slotting in the lyrics penned by Ollendorff and appropriated from a wide range of courses.

The album’s five tracks are mastered as two sides of vinyl, which bleed into one another and take the form of extended experimental passages built on long, low drones which gradually shift and evolve. The spoken word narratives are delivered in short declarations and in a smooth monotone. Sporadic percussion and quite swells of cymbal punctuate the turning trills of sculpted feedback, before a heavy bass note buzzes though crashing percussion, driving side one to a grinding crescendo: rock music dragged to a glacial crawl.

Side two escalates the tension: the title track begins hushed and ominous, ruptured by feedback and vocal effects before building through ‘Vers’ and ‘Lament’ to a dense rumble of dark, low-frequency guitar drone.

It’s this sense of progression, structure and linearity which evidences the consideration which has gone into Sans Cesse, and which shifts it into a bracket outside the purely experimental field. It’s clear that experimentalism and random elements were integral parts of the creative process, but it’s equally clear that the construction of Sans Cesse occurred post-recording. This is not a document of some spontaneous happenings committed to tape in the raw, but the product of considered and painstaking work and post-facto manipulation and reconfiguring. This is a work where order supersedes the random, where the chance occurrences which may have been part of the initial process have been assimilated and reconfigured for specific purposes.

Christopher Nosnibor / Aural Aggravation

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PLY – Sans cesse

Ply sind eine neue gemeinsame Spielwiese der Experimental-Musiker Mathias Delplanque (Elektronik, Gitarre, Komposition), Pierre Bouglé (Schlagzeug, Gitarre) und Guillaume Ollendorff (Gesang, Gitarre, Elektronik). Die Zusammenarbeit entstand auf Grund der Tatsache, dass Mathias Delplanque und Guillaume Ollendorff ohne voneinander zu wissen 2001 Alben veröffentlichten, die sehr ähnlich klangen. Man traf sich dann das erste Mal 2011 in Berlin, um zusammen mit Pierre Bouglé mit Aufnahmen zu beginnen, die nun unter dem Titel Sans Sense vorliegen.

Obwohl die beiden Hauptakteure unter dem Siegel der Experimental-Musik stehen, sehen sie sich selber als Teil des Chanson Francaise. Dem kann ich durchaus entsprechen, sofern man diesen in dem dunklen Ton des Trios noch so bezeichnen kann. Das Eröffnungsstück “Tapis Perses“ kommt mit sehr dunklem Schlagzeuspiel daher, es werden nur wenige Bassdrumklänge eingesetzt. Darüber kreist ebenso dunkle Elektronik und der gesprochene Text klingt auch nicht fröhlicher, eher ein wenig bedrohlich. Gitarrenklänge tauchen genauso sporadisch gespielt auf, wie verschiedene Perkussionsklänge. Dazu dunkle Drones unheilvoll im Untergrund. So entsteht über 12 Minuten ein sehr dunkler, aber atmosphärischer Soundtrack Noir. Und damit ist auch der Grundsound des Albums definiert. Im Titelstück kreist die Elektronik dunkel über dem Zuhörer. Dunkle, pulsierende Bässe treiben das Stück voran und ein psychedelischer Sound aus Geräuschen, Gitarre und Elektronik entwickelt sich.


Die Mixtur auf Sans Sesse ergibt eine ergreifende, dunkle und durchaus auch psychedelische Landschaft. Doch diese Landschaft scheint eine unheilvolle, gefährliche zu sein. Sans Sesse klingt für mich wie ein perfekter Soundtrack zu Schwarz-Weiß-Klassikern wie "Nosferatu" oder "Dr. Mabuse".

Eine sehr spannende, tiefe Angelegenheit. Aber besser nicht zu diesen Klängen einschlafen.

Wolfgang Kabsch / Musik au sich...

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PLY – Sans cesse

Sans cesse, j’écoute de la musique. 10h par jour. Au moins. Ce n’est pas sans cesse. Mais, inlassablement, je remets un disque sur la platine. Puis un autre. Sans cesse. La mienne, et celles des autres. Sans cesse, WARM Records m’abreuve de disques aptes à me sortir de cette zone de confort dans laquelle je me suis lové. Trois, pour le moment. Le fabuleux Quartz Locked, le classique duo Espinoza / Moire et ce PLY offert en pâture aujourd’hui. Réunissant l’infatigable Mathias Delplanque (une infinité de disques sous son nom et avec The Missing Ensemble depuis 2006) et le plus discret Guillaume Ollendorff, le duo se voit accompagné dans sa quête d’absolu par le percussionniste Pierre Bouglé. Gravées dans l’insondable noirceur de cette ronde plastique, cinq pièces mêlant spoken words, nappes de brouillard sonores et percussions rituelles. Les atmosphères funèbres développées le long de cette trentaine de mortifères minutes rappellent le travail tout en finesse fantomatique de Bastien Champenois (moitié des formidables ENSYNC dont je ne dirai jamais assez de bien). Quant aux textes, je ne les trouve pas si éloignés que ça de la poésie psychédélique de Léonore Boulanger. Des moments de grâce sont égratignés lorsque les trois incubes s’excitent (Au point où j’en suis) et la mort elle-même est invoquée dans le morceau-titre par la façon dont Guillaume recrache ses mots insondablement déprimants.

“C’est fou comme la douleur n’a jamais fait à moitié aussi mal que la joie.”

Records Are Better Than People

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PLY – Sans cesse

Mathias Delplanque poursuit ses explorations artistiques, en duo sous le nom de PLY. Après avoir côtoyé d’autres artistes aussi divers que talentueux, s’être frotté aux galeries ou autres lieux d’art pour y proposer des installations et jouer des performances, le voilà acoquiné avec Guillaume Ollendorff, homme de mots et par ailleurs musicien sous le pseudo de Tsé. La rencontre a lieu à Berlin en 2011 où réside Guillaume Ollendorff, qui y a installé son activité d’auteur - on citera le remarquable ouvrage Berlin Sampler - et y a affûté sa curiosité artistique. Ce tout premier disque, enregistré sur trois ans avec la participation du batteur Pierre Bouglé, laissent percussions, guitares, machines et mots se croiser, se frôler dans une atmosphère très « ambiente » qu’induisent des harmonies improvisées et expérimentales. La musique sert le verbe et vice-versa, l’équilibre amène à une forme de sensualité, de poésie sonore, à un état de flottement. La voix ne chante pas, elle énonce, prend son temps, énonce de manière atone laissant ainsi les mots prendre du relief, laissant ainsi les notes osciller plus encore. On pense parfois à Anne-James chaton, Pascal Bouaziz ou encore Rodolphe Burger dans les timbres, on se retrouve attentif aux mots qui parfois ramènent à la réalité d’un objet ou à l’état d’un sentiment évoqué. Sans cesse est un ovni sonore, un univers qu’il faut pénétrer sans retenue, et se laisser porter par les notes et les mots. Jamais l’entité album n’aura eu autant de sens, il s’agit d’un tout, cinq pièces qui forment un tout aussi flou que précis, l’expérience sensorielle provoquée est captivante.

Cécile Arnoux / Place Publique

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