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  • Cat.No.: US10.01
  • Title: Lost Without Light Ep
  • Artist: Scanner
  • Type: 10" (lim.500)

Lost Without Light Ep

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The first vinyl release by Scanner for some years, the Lost Without Light EP offers three tracks of contrasting moods. Canton Lathe is an elastic dub fused work, scattering beats into a warm seductive groove, Backwood floats a gracefully melancholic melody over softly humming beats and the miniature Forget Me is a modestly pixellated abstraction.

Scanner - British sound artist, Robin Rimbaud – explores an eclectic mix of activities that place him at the crossroads of academic and digital pop culture.. Winning admiration from Bjork and Stockhausen, Scanner is committed to working with cutting edge practitioners and has collaborated with musicians Bryan Ferry and Laurie Anderson, writers David Toop and Simon Armitage, the artist Mike Kelley, among many others. His live performances constantly seek to break new ground: in 1999 he performed ‘Surface Noise’ on a London Bus around the city, in 2000 he performed over 20 KM of beach in Italy using the public phono system, re-soundtracked Godard’s seminal film ‘Alphaville, and most memorably played 16 concerts in just one evening with a series of lookalikes across the globe.
Among his recently completed works are Respire, an installation in a Belgium canal, soundtracks for Rambert Dance Company’s Detritus and Random Dance Company’s Nemesis, an on-going collaboration with Italian composer Salvatore Sciarrino and graphics artists Dfuse, and CD releases of 52 Spaces commissioned by the British School at Rome and Sound Polaroids which won The Imaginaria ‘99 award for Digital Art at the ICA in 1999.

Though a departure from the more abstractly invigorating experimental work that Scanner is recognised for, this EP still sculpts a sound that twists state-of-the-art technology in gloriously unconventional ways.

Video for "Backwood"


Published in:

A hugely impressive brand new three track 10" from the German label, Underscan. Canton Lathe does a masterful job of bridging an electronica pigeonhold with a deep techno one. Slithering clicks and whirs fly around above a shuffling muted beat that sounds like a distant broadcast of an early Mike Ink Studio One record plus a low bass drone and a range of interferance. Excellent. Forget me is an electronic dub, no beats, but deep bass and a series on manipulated chimes and clicks that work beautifully. Flip over for more upbeat electronix, wickedly lively and inventive, shifting bass tones underpin tear-away clicks and a twisting metalic sound to contrast the warmth. A most accomplished 10" and highly recommended.

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after what seems like ages, robin rimbaud aka scanner, returns with some new material. now some of you may remember this london-based artist for his tomfoolery with eavesdropping on mobile phone conversations and slapping some music on top. well he unfortunately doesn't do that anymore, what he does do is complex algorithmic electronica with a heart made of dub.
we sometimes felt that his work was steeped too far up academia's ass for his own good, so it's good to see this release being as close to the street as possible. in fact opener 'canton lathe' is postively rocking! distant sub-bass, fragmented and interrupted rhythms and a melody that tries to make itself heard somehow come together to form a (dare we say it?) funky groove. after the brief blip of 'forget me', it's back to wholesome tunage with the beautiful 'backwood'. words can't really describe this and as i'm a lazy bastard i'll not bother. overall: satisfying.

Published in: De:Bug

Mit Scanner kann ich so gar nicht, und hab das auch noch nie als Problem empfunden. Schon der Titel, ich meine hey, soll das Ironie sein? Seit wann ist jemand der früher jedem Journalisten siene Scanner Geschichte unter die Nase gerieben hat und als orginell verkauft, ohne Licht verloren? Wenn diese komischen Sounds und Stimmen nicht wären, übrigens, dann könnte so zumindest in Parts der ein oder andere Track dieser Platte, gut, vielleicht ein wenig weniger offensive Darkness hätte auch geholfen, ganz gut sein. Und es wäre vielleicht eine solide klapprig knisternde Dubplatte draus geworden. So bleibt eigentlich nur der letzte Track, der mit seinen melodisch melancholischeren Hispeedsambaklöppelrhythmen und den verhangen schwebend gemaultrommelten Filtersounds so schön ist, dass man auch die Strings nett finden kann. Doch, wirklich schöner Track, Scanner, ich entschuldige mich, vorerst. Debut einer 10" Serie des Berliner Labels Underscan Records, denen u.a. noch Anders Remmer, Tonne, I/O und mehr folgen werden.
bleed **-*****

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This three track EP is first in a series of ten put out by Underscan and will be available on 10 inch vinyl. It features Robin Rimbaud mixing the chattering beats, shards of desiccated voice and buried pulse of "Canton Lathe" along side the more spaced metals and rustlings of the brief "Forget Me". There is a spacious quality to both of these tracks, the beats never become too cluttered and the sounds are sparse but somehow warm. The last track, "Backwood" is slightly more beat filled but also has a ghost of mournful melody threading in and out of the precise percussion. Voices briefly shift to the front of the mix, muffled and unidentifiable, then fade back and forth again as the track continues on its original course.
Lost Without Light is a short but tantalising slice of Electronica that isn't going to break into any new territory but it made me wish there were some more of it.
-Paul Donnelly-

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British sound artist Robin Rimbaud (otherwise known as Scanner) is continually pushing boundaries in the perception of sound and its use as expression. Almost constantly travelling around the world, often with multiple projects running simultaneously, Rimbaud is always experimenting with some new concept in sound. Whether it is an art installation, playing a concert on a London bus, writing a new soundtrack work or collaborating with other artists, designers or musicians, Rimbaud is perpetually busy and always looking for new ideas.
With Lost Without Light EP, the first in a series of limited edition 10 ten-inch only vinyl releases for Underscan Records, Rimbaud takes a break from his hectic schedule to deliver 3 new tracks for our collective listening pleasure. The opener - "Canton Lathe" - gently rumbles, rattles and throbs along in an almost clanging experimental dub fashion. Carefully layered, "Canton Lathe" trundles along at a steadily increasing pace, rhythmic yet serene whilst playfully sampling radio interviews - curiously about the colouring in sausages. Clocking in at just over 2 minutes, "Forget Me" is the shortest track on the EP and continues where "Canton Lathe" left off. Almost metallic blips and soothing tones sit over field recordings of someone walking down a street, complete with the background noise of the city for added authenticity. The final track, "Backwood", picks up the pace with rhythmic tapping beats alongside vocal harmonies and busy almost metallic keyboards, ominous sweeping tones and a mishmash of sampled children's voices.
Carefully composed with many layers of differing sounds, Rimbaud's music is multi-faceted and complex with each layer interacting perfectly to form a whole. Rimbaud's music is always captivating and ever-changing, not dramatically so but subtly and consistently shifting as he moves from concept to concept and project to project, his music is always worth checking out and submersing yourself in.

Published in: Music Club

L’etichetta di Berlino, Underscan Records, inaugura la serie di uscite in formato 10” vinilico con un artista che non necessita di presentazione alcuna, trattandosi di Robin Rimbaud (aka Scanner). E la serie non poteva iniziare in modo migliore, poiché il ritorno di Scanner al vinile dopo parecchi anni lo vede impegnato nella proposizione di tre tracce diverse tra di loro, ma che esprimono un comune sentire metropolitano, oltre che una comune qualità elevata, a testimonianza del fatto che Robin non lavora mai solo per esigenze contrattuali, ma sempre cercando di proporre materiale in grado di reggere l’usura del tempo. Nella fattispecie il musicista britannico si cimenta con brani in cui è marcata l’impronta elettronica, che nel caso di ‘Canton Lathe’ mescola ritmiche astratte e profonde ambientazioni capaci di sedurre e inquietare, in ‘Forget Me’ costruisce il ponte sonoro (a base di minime variazioni ibernate), che congiunge la traccia precedente e la successiva (‘Backwood’), dove esplora i territori della techno minimale virata in chiave experimental lounge e malinconica.

Published in:

Noto come curioso sperimentatore, Scanner inaugura questa nuova serie di10" per la Underscan Records, label che prevede di stampare dieci viniliper dieci artisti differenti. Si parte con il dub minimale di 'Canton Lathe',in cui i click si miscelano dolcemente alle micro percussioni metallicheed all'eco di drones lontani. 'Forget Me' rappresenta un breve intermezzodi lenta contemplazione al quale segue il ritorno al ritmo di 'Backwood',brano dalle semplici melodie rattristate su cui vengono poggiate vivacivoci di bambini. Un ep discreto che non stravolgerá di certo le sorti dell'elettronica,ma che potrá soddisfare coloro che restano in attesa di nuove produzionidell'artista britannico.

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Published in: Trax Magazine

Constitué d'éléments invisibles, turbulents et imprévisibles, Scanner invente une musique au service des phénomènes lumineux. Au travers d'une fascinante chorégraphie lunaire, les sonorités fusent, traversent l'espace à la vitesse de la lumière. On entend au loin des activités humaines d'un autre temps. On reconnaît çà et là les signes du règne de la force noire. On se perd dans les méandres des plages climatiques hybrides, dansantes et grisantes. Un voyage initiatique pour avoir la chance de voir la lumière ..

Published in:

Scanner wie gehabt: Layer vom Feinsten - und an die Substanz dazwischen hat er glücklicherweise auch gedacht. Wenn ich mich nicht irre, hat Robin Rimbaud in letzter Zeit selten so dubby geklungen. Was aber noch nichts heißen mag, denn von dem, was man als einen willkommenen Schritt zur Normalität bezeichnen könnte, ist er nach wie vor weit genug entfernt, um die Zuneigung von Weltraumgreis Stockhausen nicht ernsthaft gefährden zu müssen. So schlängelt man sich 15 Minuten lang durch eine Sache, die man ohne weiteres akademische Bauchmusik nennen könnte. Einerseits also unentschlossen, andererseits wiederum eine gesunde Mischung, die immer dann mit funky Grooves punktet, wenn sich gerunzelte Stirnen ein Mehr an Missklang wünschen würden.
Kai Ginkel

listen to tracks:

Canton Lathe buy
Forget Me buy
Backwood buy