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SCANNER " The Great Crater "

Reviews

Altro gioiello che va ad aggiungersi agli altri custoditi nel visionario scrigno di ghiaccio antartico della Glacial Movements, da dieci anni al servizio dell'ascolto altro. Robin Rimbaud in arte Scanner, uno dei nomi chiave del nuovo pensiero sonoro europeo, soundartist continuamente alle prese con impegni lavorativi che lo vedono alternarsi nel mondo della moda così come nell'universo della musica contemporanea, immerso nella composizione di soundtracks e instancabile lavoratore della multimedialità. Un artista multitasking, rappresentante del mondo a venire, che pubblica un vero e proprio diario di viaggio nei ghiacci, chissà per quanto ancora tali. A ben pensare il contenuto dei dischi qui recensiti altro non è che la descrizione sonora di una storia, un racconto. Anche quest'ultimo non si discosta e narra la storia di strani cerchi del diametro di due chilometri, scoperti sulla superficie antartica nel 2014. Due anni più tardi si venne a conoscenza della vera ragione di quei segni nel ghiaccio, erano laghi formatisi in una depressione, fragili lacrime nascoste all'uomo per orgoglio da parte di una natura offesa e a fine vita. Scanner penetra dentro quelle formazioni circolari, si immerge sotto la superficie, vaga nell'assenza di peso e nel silenzio dell'immenso spazio liquido racchiuso nel ghiaccio. Innalza un peana in suo favore, una silenziosa astratta sinfonia che profuma di abbacinante candore e mesta rassegnazione. Il battito della Terra, forse il suo ultimo manifestarsi.SHERWOOD
El gran cráter helado de Scanner El sello italiano Glacial Movements prepara el lanzamiento del nuevo álbum de Scanner, un disco titulado The Great Crater y que verá la luz el próximo 29 de septiembre. El veterano músico británico Robin Rimbaud es quién está detrás del proyecto Scanner. Su trabajo siempre ha estado ligado a los sonidos experimentales explorando las conexiones entre el sonido, el espacio y la imagen. Su carrera comenzó en 1991 y desde entonces ha grabado un sinfín de producciones tanto en solitario como en colaboraciones notables con otros artistas como Bryan Ferry, Michael Nyman, Carsten Nicolai, Laurie Anderson o Miroslaw Balka, entre otros. Además es habitual verle en los créditos de diferentes campañas publicitarias así como en otros proyectos más alejados de la electrónica y cercanos a la música clásica. En The Great Crater intenta contar la historia que hay detrás de los extraños círculos que están apareciendo en la Antártida. En 2014, un grupo de científicos volando sobre el continente helado descubrió una formación circular de dos kilómetros de diámetro. Durante un tiempo se pensó que podía ser la huella de un meteoríto pero finalmente se descubrió que era otro el motivo. En enero del pasado 2016 los científicos descubrieron un agujero de 3 metros de profundidad con pozos verticales en el centro. Tras cavar en el hielo descubrieron múltiples lagos bajo la superficie en el que se está fundiendo el hielo, y se piensa que esto puede conducir a una mayor desintegración. El álbum intenta reflejar en sonidos estos movimientos frágiles que están detrás de estos extraños círculos.CLUBBING SPAIN
Outstanding. But before we go employing lazy associations and cliques with regards to music that sources ambience as inspiration let’s just say that this album isn’t simply about mood creation but pushes further at the edges of existence. That might be heart-wrenching intensity or richly dark moments. Equally the rush of romance or happy possibilities which seem endless. There mercifully is not a rule book to follow here and it’s that very excitement that engulfs you in swathes of warm, difficult, probing, melancholy, electronically charged excitement. Another great release from Glacial Movements and of course via Robin Rimbaud. One last thought: if you imagined that the genre was washed out. Listen again. Perhaps the cover art says it all.MAGAZINE SIXTY
Active since the early 90s, Robin Rimbaud (aka Scanner) has made a name in the world of minimal electronic music, intelligent dance music and reticular sound design. The albums published on Sub Rosa stand as important releases in abstract sound art. This artist and sound architect has been extremely prolific during his career. Titled The Great Crater, his new album is signed on the Italy-based label Glacial Movements. Founded by Alessandro Tedeschi, this label has published notorious acts such as Rapoon, Loscil or Francisco Lopez. Loyal to its aesthetic and visual component, the artwork of this new release is intentionally focused on vast, open, pure, empty spaces, and minimal landscaping lines. It beautifully illustrates the suspenseful sound sculptures offered in this album. Mostly articulated around textures, The Great Crater also contains timbral experimentations, subtly droning flux and micro modulations. It certainly represents the most accessible and most meditative facet of Rimbaud’s musical production. A slow moving, sonic and fine organic ambient release for your inner voyage!IGLOO MAG
To succinctly summarize the life and work of avant garde electronic musician/composer Robin Rimbaud (a.k.a. Scanner) is no easy feat. In the early days of his career he utilized technology to transform voyeurism by using radio scanners to record people’s conversations. Born with a voracious appetite for music, Rimbaud moved on to helm multi-media projects since post-9/11 life made it difficult to travel with his gadgetry. Since then he’s collaborated with classical musicians, music icons like Bryan Ferry and Laurie Anderson, and fashion luminaries such as Steve McQueen and Stella McCartney. He’s also curated events at London’s ICA and has worked with dance companies.On September 29 Glacial Movements will present Scanner’s new full-length, The Great Crater. The album explores the tale of strange circles that were discovered in 2014 by a group of scientists flying over Antarctica.We’re pleased to world premiere the video for opening track “Cast to the Bottom” directed by Uršula Berlot and Sunčana Kuljiš Gaillot. It’s a visually arresting animation that coalesces with the track’s evocative ambient soundscape.BIG SHOT MAG
Al bijna 25 jaar weet Robin Rimbaud ofwel Scanner innovatieve elektronische muziek naar buiten te brengen, waarbij hij zo veelzijdig is dat je hem niet eenvoudig kunt duiden. Hij start zijn muziekcarrière door zelf met politiescanners en mobiele telefoons afgeluisterde en opgenomen scans te verwerken tot experimentele werken. Daarna gaat hij zich ook meer en meer richten op ambient, abstracte en experimentele muziek. Wat zijn output is wordt ook nog wel eens bepaald door de artiesten waarmee hij samenwerkt, waar David Shea, Main, Kim Cascone, Michael Nyman, Banabila, Main, David Toop, DJ Spooky, Kim Cascone, Stephen Vitiello, David Rothenberg en Jochen Arbeit daar slechts een deel van is. Tevens duikt hij naast Colin Newman (Wire) en Malka Spigel (Minimal Compact) op in de rockband Githead. Kortom, het is altijd verrassend. Nu brengt hij op het ijzige ambientlabel Glacial Movements zijn cd The Greater Crater uit, waarop hij zijn inspiratie haalt uit de ontdekte krater op Antarctica, die is ontstaan door meren onder het ijs en het gevolg zijn van smeltende poolkap. Niet zo verwonderlijk dus dat zijn 10 tracks nogal ijzig en isolationistisch zijn. Met indringende duistere ambient en drones, gelardeerd met geluiden van allerhande akoestische, klassieke instrumenten, glitch, experimenten en subtiele details en veldopnames maakt hij diepe indruk. Zeker als je dit met de koptelefoon beluistert gaat er een wereld voor je open. De ijsschotsen, het krakende ijs en de poolwind zijn haast tastbaar. Het is zo verfijnd, intens en wonderschoon, maar blij vlagen ook beangstigend. Ontzettend mooi en ook nog eens gestoken in een zeer fraaie hoes, ontworpen door Rutger Zuydervelt (Machinefabriek). Wat een kunstwerk!subjectivisten
Vive di vita propria il nuovo disco di Robin Rimbaud, che si intitola The Great Crater ed è appena uscito su Glacial Movements. Il che è un vantaggio, considerando il carattere difficile, rizomatico, di una discografia fittissima e in continuo aggiornamento, tra l’altro piena di collaborazioni eccellenti. Un vantaggio, sì, quantomeno per coloro che non hanno ancora avuto modo di approcciare l’opera di quest’artista multimediale inglese, attivo come Scanner da più di venticinque anni, perché è oggettivamente impossibile definire quale sia il campo d’azione in cui Rimbaud si muove. Scanner non fa solo dischi, o meglio: non fa semplicemente dischi. La maggior parte di questi, specie a partire dai primi anni del Duemila, altro non documenta che lavori fatti su commissione. Dopo decine o forse centinaia di sonorizzazioni per mostre, installazioni artistiche, cinema o televisione, e incursioni nell’ambito della danza, del teatro e dell’architettura, oggi Scanner può vantare un profilo ben istituzionalizzato. E se nella vostra camera da letto avete una sveglia Philips modello Wake-up Light, allora ci sono buone probabilità che sia lui a darvi il buongiorno, dato che di quella è il sound designer. In un’altra occasione, poi, ha avuto modo di sonorizzare l’obitorio di un ospedale di Parigi, così da attutire – per quanto possibile – il momento tragico in cui le persone identificano la salma di un proprio caro. Il quadro si complica se, come d’obbligo, ricordiamo che l’intera vicenda artistica di Rimbaud si situa all’indomani delle prime registrazioni effettuate con un ricevitore scanner (da qui il nome d’arte), che gli permetteva di intercettare e catturare trasmissioni radio e telefoniche. Lui, per dirla un po’ alla Burroughs, è un agente del suono, come una spia che si muove in segreto tra le altrui conversazioni: agonie private, intime confessoni, addii vigliaccamente consegnati via telefono, gente appesa a una cornetta. Ma anche momenti più distesi e di rilassata quotidianità, oltre che pubbliche disquisizioni. Stralci quasi sempre decifrabili che Scanner, dopo una prima fase di voyeuristica archiviazione, dispone tra i suoni trovati, i sample disturbanti e i meno frequenti elementi ritmici alla base dei suoi brani (i primi due album omonimi o il foucaultiano Mass Observation, ad esempio), dosandone con cura la quantità. Dosando, appunto, visto che almeno per buona parte degli anni Novanta Rimbaud è anche avvicinabile all’ambigua definizione di Intelligent Dance Music, pur tuttavia restando in bilico tra i primi Autechre (ma al netto degli algoritmi) e una zona grigia presidiata da etichette come Sub Rosa, Mille Plateaux, Mego, Ash International. Mentre il suo disco forse più noto, Delivery, esce nel 1997 per Earache, affianco agli Entombed e ai Napalm Death. Col passare degli anni alla figura di Scanner sono stati affibiati appellativi cuoriosi e ficcanti, come quello di “terrorista telefonico”. E nel lontano 2000 la rivista inglese The Wire gli ha dedicato una copertina prendendo in prestito quello che è il nocciolo della riflessione mediologica del sociologo canadese Marshall McLuhan, “The medium is the message”. Altri hanno invece individuato un rimando al labile confine che separa la dimensione pubblica da quella privata; un tema che Scanner calava già allora nel contesto oggi dominante, quello di Internet e delle nuove ICT, sfociando poi in un’indagine sui “rumori nascosti della moderna metropoli”. The Great Crater The Great Crater, dicevamo, è un disco diverso. Del resto esce su Glacial Movements, un’etichetta su cui approdi se effettivamente dimostri determinate caratteristiche e propensioni. A spiegarcelo fu lo stesso Alessandro Tedeschi, curatore della label, in un’intervista che risale al gennaio 2013: la mission è quella di proporre “lavori (un po’ è come se li commissionasse) che si avvicinino alla sua idea, quella di un preciso paesaggio fisico, sonoro e mentale” che corrisponde ai due poli del nostro pianeta. E mai in modo vago o astratto: The Great Crater trae infatti spunto dalla scoperta – avvenuta nel 2014 per mano di un gruppo di scienziati in volo sulle distese antartiche – di una strana formazione circolare del diametro di 2 km. Il disco è qui che ci conduce, in questa depressione profonda tre metri e nei laghi che furono rinvenuti al di sotto della sua superfice. Dieci brani per un’unica, lunga immersione tra fondali dub e anfratti di silenzio, squarci di luce e scurissimi strapiombi: profondità maestose per nessuna presenza e nessuna natura, come nel recente Rubisco di Donato Epiro, che citiamo volutamente (provate ad ascoltarli assieme…). Sul secondo brano, imperiosa e abnorme, svetta l’ombra delle recenti vicende di casa Subtext (FIS, Paul Jebanasam, Roly Porter), mentre gli archi lamentevoli, stirati, di “Lakes Under Lakes” e della conclusiva “Moving Forwards” ricordano Landings, il capolavoro di Richard Skelton. L’influenza di Thomas Köner e di altri isolazionisti simili è inevitabile se parliamo di Artide o Antartide, ma qui è presente soltanto sullo sfondo: Scanner ha una sua storia, lo si intuisce da come stuzzica la nostra immaginazione e ci avvicina al tema con impressionante fedeltà; e soprattutto da come solletica il piacere dell’ascolto grazie a brevi cellule melodiche che sono perle luccicanti in mezzo al nulla. Solitarie e stazionarie, brillano nelle gelide acque sub-glaciali.THE NEW NOISE
Podróż na Antarktydę. Robin Rimbaud, znany szerzej jako Scanner, zajmował się w życiu wieloma rzeczami. Pisał muzykę do filmów, do gier komputerowych, zajmował się muzyką awangardową, brał udział w spektaklach multimedialnych, a także parał się projektowaniem mody czy architekturą. Tak wiele pól, na których się realizuje sprawia, że jego wydawnictwa płytowe należą do rzadkości. Tym ciekawiej, gdy się pojawiają. Nie inaczej jest z najnowszym wydawnictwem „The Great Crater”. Sam zainteresowany ma na koncie równie pokaźną listę osób, z którymi współpracował. Pozwolę sobie wymienić Bryana Ferry, Steve`a McQueena, Stellę McCartney, Laurie Anderson, a także Mirosława Bałkę. Widać wyraźnie, że Rimbaud traktuje swoją działalność w iście renesansowy sposób.Zasłużony label Glacial Movements skłonił Rimbauda do nagrania nowego materiału. Natchnieniem do powstania było dziwne odkrycie dokonane w 2014 roku na Antarktydzie. Otóż z lotu nad terenem namierzono dziwny, okrągły kształt. Po bliższym zbadaniu okazało się, że mamy do czynienia z dziurami w terenie. Nic dziwnego by w tym nie było, gdyby nie to, iż są to dziury powstałe w efekcie topnienia lodu. Do tej pory uważano, że tam temperatura nie spada. Okazało się, że pod warstwą zmarzliny kryją się „gorące jeziora”, która rozpuszczają ją od spodu. Tu można zobaczyć więcej szczegółów. Dalsze rozpuszczanie się warstwy lodowej może przynieść tragiczne skutki. Z tego miejsca wychodzi album „The Great Crater”.Taki właśnie – lodowy – klimat panuje na albumie. Muzyka ma dość łagodną strukturę, która często zostaje niegrzecznie potraktowana. Scanner umiejętnie ucieka z pułapki muzyki ilustracyjnej na rzecz nieoczywistości. To muzyka ma nas prowadzić po tym bezkresie, a nie stanowić jedynie tło. Elektroniczne emocje pozwalają się zanurzyć w te dźwięki. Szczególnie dobrze wypada to w pierwszej połowie płyty. „Exposure, Collapse” przynosi jeden z najbardziej wciągających momentów. Eksplorujemy teren, wchodzimy w tajemnicze miejsca. Świetnie to wszystko zostało skomponowane i rozplanowane. Efekty pojawiają się spokojnie, przy jednoczesnej zmianie charakteru utworu. Dodam, że koniec zaskakuje. Naturalną kulminacją płyty wydaje się być najdłuższy „The Scar”. Poskręcana elektronika i udziwnione dźwięki stanowią tu główny składnik. Pulsujący od potężnej dawki dronów, które zmagają się ze skrzypcami. Fascynujące zderzenie, klaustrofobiczna atmosfera i czający się podskórnie mrok.Nutę awangardy z domieszką minimalizmu słychać w „Forming Circuits”. Urokliwe plamy syntezatorowe są ozdobą „Katabatic Wind”. Intensywność złączoną z melancholią poczuć można już od pierwszego „Cast to the bottom”. Wydelikacenie końcowej części płyty nie przyniosło dobrych rezultatów. Owszem mamy tu miks ambientu z muzyką klasyczną, ale w formie dość przewidywalnej. „Underwater Lake” przypomina trochę Björk z okresu „Biophilii”, ale bez nowatorstwa. Gorzkie słowa, których używam, podyktowane są odczuciami po pierwszych, sześciu utworach, które robią duże wrażenie. Szkoda, że nie udało się utrzymać intensywności przeżyć przez cały album. Nie czyni to z „The Great Crater” płyty złej. Jest ona po prostu niewykończona tak, jak na to zasługuje.Glacial Movements | 2017NOWAMUZYKA.PL
È ormai superfluo ribadire come il ricco catalogo dell’etichetta romana Glacial Movements smentisca, uscita dopo uscita, i luoghi comuni dell’isolazionismo ambientale connesso a un immaginario ghiacciato. Ulteriore artefice dell’approccio dinamico alla materia è un autentico nume tutelare dell’ambient-techno sperimentale da oltre tre decenni a questa parte, ovvero Robin Rimbaud, alias Scanner. Traendo ispirazione dei misteriosi crateri rilevati da alcuni scienziati sul suolo dell’Antartide, Rimbaud ne ha ricreato in forma sonora i diversi elementi costitutivi, dalla superficie cristallizzata alle sorprendenti correnti, che in forma sia solida che liquida, vi scorrono al di sotto.Ne sono scaturite dieci dense istantanee che spaziano da frequenze crepitanti a prolungate risonanze statiche, che ben rispecchiano lo spessore delle coltri ghiacciate e le tenebre da esse ricoperte. La sorpresa, correlativa a quella della scoperta dei flussi di elementi e dei livelli di laghi sottostanti ai crateri, giunge dalla trasformazione delle pulsazioni di Scanner in morbide sequenze di arpeggi (in particolare in “Strange Circles”) o addirittura in spire ambientali incantate (“Lakes Under Lakes”), che riconducono la materia – fisica e sonora – al senso della sfida propria di un’infinita tensione all’esplorazione.MUSIC WONT SAVE YOU
ROCKERILLA 2017
A new studio album for Scanner – aka Robin Rimbaud – is a rare event indeed, so it’s great to welcome him back in the arms of the excellent Glacial Movements label. ‘The Great Crater’ is based on the unexpected appearance of strange circles in Antarctica, due to melting ice. It would seem Rimbaud is responding emotionally to the disappearance of the ice, for a good deal of his music is shot through with dark sentiments and even anger, for when the strings and big percussion kick in to ‘The Scar’ we could be on the set of a horror film. By contrast the wide open spaces in which Rimbaud operates are comforting, especially when he uses slowly moving loops that travel forward with stately but inevitable strength. ‘Moving Forwards’, the closing track, is light and graceful and appears to be part of a resolve to calm the fears created earlier on. If you like modern classical music and want electronic dressing, Scanner’s music is wholly fit for purpose, and makes compelling and surprisingly emotional listening throughout. Ben Hogwood 4 out of 5DMC WORLD MAG
Robin Rimbaud, aka Scanner—sometimes he is William Orbit, and sometimes he is Brian Eno. Other times still, he can be Bruce Gilbert, making mysterious noises that occasionally take on musical properties. When he straps on a guitar, it can be another genre altogether. For The Great Crater, Rimbaud has taken the most minimal route to create some of the most compelling electronic music of his bountiful career. The results are as stunning as they are frightening. When you consider the source of the music’s inspiration, its eerie quality is easily magnified. Three years ago, scientists flying over Antarctica spotted a large, circular anomaly that they took to be a meteorite crash site. When they started digging within the area, they found an underground “hot spot” full of lakes and melting ice. As you might have already guessed, this isn’t cheerful news. Polar ice caps are supposed to stay cold. When large-scale melting such as this is underway, you’re not going to feel like humming “I’m a Believer” through your kazoo. Any sense of optimism you’ll manage to summon for yourself will inevitably come with a side of despair or vice versa. Rimbaud understands this and has sculpted his latest slab of music accordingly under the supervision of—wait for it—Glacial Movements Records. Who says we can’t experience a little aural beauty while we’re all drowning? “The album explores an immersive, fragile and moving exploration of themes inspired by this simple tale,” goes The Great Crater‘s press release. What does that mean, exactly? It means you would be doing yourself a great disservice by not listening to this album through headphones, or secondly, through a beefy sound system. Laptop or monitor speakers do not cut it for this release. The sounds are too detailed and immersive for such weak means of projection. If you want to step down into this crater, you’ll need to hear all the frequencies that come with it. It’s alright if you choose to listen to The Great Crater in background fashion. It’ll remain a good album as such. But if you put a little more effort into the listening, it’ll become a great album.“Cast to the Bottom” starts off The Great Crater with an echoey whisper, and the album’s overall dynamics rarely rise above these hushed tones. The one exception is “The Scar”, the album’s longest song at nearly a ten-minute length. This is where the music starts to lean over to the sinister side of electronic ambient music. Somewhere around the halfway point, Rimbaud introduces a sawing synth effect not unlike the Jaws theme. With approximately 90 seconds to go, large sheets of choral noise continually get in your way, adding to the imposing, cavernous sound. The surrounding tracks do everything from ambient sequencing (“Forming Circuits”) to shapeless soundscaping (“Deep Water Channel”). There is a moment of sunshine before the plunge on “Exposure, Collapse”, recalling Music for Airports, though “Katabatic Wind” throws a bleak blanket over the mood eventually. If you’re wondering what scientists are going to do about this Arctic hot spot, know that you’re not alone in your uncertainty. The Great Crater concludes with “Moving Forwards”, a conclusion one wouldn’t exactly call negative but also seems unable to offer up a clear path to an improved future. Scanner/Robin Rimbaud is more than 25 years into his career and is still discovering ways to maximize the effects of minimal electronic music. If humanity and the weather can get their act back together in tandem, this ambient music milestone could become less grim with each subsequent revisit.POP MATTERS
It is difficult to fathom that Robin Rimbaud’s Scanner project is nearing its 25th year, given the self-titled debut appeared in 1993. In that span of time he has become involved in a diverse array of artistic endeavors, from soundtracks to performance art, even to oblique pop music as a member of Githead, all of which stray far from his initial digital snooping and nod to the surveillance culture, which has only grown since. Conceptually, The Great Crater is a different beast entirely: a sonic examination of an odd phenomena occurring in Antarctica, and perfectly captures the wonder and potential dread of the event.The titular crater is one that was first observed in 2014 and was assumed to be the result of a meteor impact. Closer inspections in subsequent years revealed it to be not a crater, but an expanding hole in the ice sheet, caused by pockets of water (from ice that had melted) underneath. The concern is that these pockets will expand, causing the ice sheet itself to disintegrate, with the potential of catastrophic side effects for the rest of the world. Given the nature of this incident, its physical appearance, the possible cause by humanity’s impact on the ecosystem, and its potential for wider reaching damages, it makes a unique theme for a widely varying electronic composition. Rimbaud does an amazing job creating sounds that approximate these physical events. Rather than just utilizing field recordings of similar phenomena, it seems as if he was able to capture these sounds and images just with processing and modular synthesis. Opening "Cast to the Bottom" demonstrates this from its opening moments: massive rumbles like far off ice cracking is peppered with wet synth pulsations, creating a slushy introduction that he then casts layers of frigid, shimmering electronic space. "Underwater Lake" sees him conjuring some quiet, light passages of synthesizer, with occasional rumbles low in the mix. The tasteful amount of processing done gives the whole piece a distinctly aquatic sound, somewhat submerged but clear enough to be fully appreciated. Later on, "Katabatic Wind" drifts in slowly via shimmery passages of peaceful sound. Even though there is an airy quality to the mix, Rimbaud blends in some echoing, sonar like notes that cluster together in the form of rudimentary, yet beautiful melodies. "Lakes Under Lakes" is another slow moving piece, largely centered around a blend of string-like tones that are tinged with just the right amount of dissonance. A composition such as “Forming Circuits” stands out as captures him playing around with a more distinct sense rhythm. Built upon an insistent pulse that could almost be extrapolated from a 1990s house record, he adds some static crunch to take things in a different direction. The lengthy "The Scar" is one of the moments on The Great Crater in which Rimbaud takes a more clearly composed approach to the sound. Big, droning low end is blended with eerie passages. With the addition of some big, far off crashes and a slowly expanding dynamic, he builds the piece to a dramatic, almost orchestral like conclusion that works perfectly. "Strange Circles" has a sequenced-like melody from the opening moments that he builds upon throughout. The added electronic bits that come in and out do lend an almost 1970s science documentary feel to the proceedings, but Rimbaud is careful to rein things in before they get too far into new age territory. There is undoubtedly a bleakness that runs throughout The Great Crater, no doubt to capture the potential danger of this event, but also our hand in creating it. The sound itself, however, is far more gorgeous than simple darkness though. Rimbaud’s ability to capture such non-musical events and themes via electronics is impeccable, and it is through that beauty that he injects a bit of hope into what otherwise seems like a grim situation. Regardless of the ecological impact or implications, however, The Great Crater is unquestionably a compelling and fascinating record that further cements Rimbaud’s legacy as a multi-talented and peerless, diverse composer.BRAINWASHED
ELECTRONIC SOUND (11/2017)
Robin Rimbaud (a.k.a. Scanner), however, is dealing in subtle images of environmental catastrophe, and accordingly his take on the ambient genre is much grumpier. His latest project is inspired by troubling developments in the Arctic ice fields, and its mood varies from aridly frigid to spaciously pessimistic. That may not sound like a recommendation, but in fact the music on The Great Crater is not only fascinating but also quite beautiful. It’s just not going to help you sleep better. Both albums are recommended to libraries with electronic music collections.CD HOTLIST
The work of Scanner has always been an uncommon counter-argument to conventional studio Electronic Music. Robin Rimbaud, and the formidable power of his ideas, continues to take us to new places - using things that exist freely all around us. His album The Great Crater (48'36") goes deep and dark, unsettling the world into which it intercedes. Even brief exposure to this music may make the listener feel vulnerable, so much so that merely giving ear to it becomes a symbolic act. A departure from earlier outright aggressive experimentation, this work is based throughout on various permutations of its title. Across ten tracks suggestive of the unprotected region of the South Pole, The Great Crater whirls and undulates in the way snow drifts, and contracts as do the icecaps now melt. Its consuming dark moods, and a quiet sense of mystery, rise out of a tension within the fabric of the music. In a mysterious unfolding of spatial complexity grinding ice seems to flow. A textural interplay between synthesized tones and stringed chamber instruments provide delicately haunted passages - a remarkable somewhere in which a powerful quiet has washed over us. We find any rhythmic energy on The Great Crater to reside in the periphery. Lilting music box patterns gently surface out of a rumbling frost, as forlorn harmonies issue from overcast fields. In frigid, fragile understated constructs, bitter tones creak and scrape - as an environmental message is sent through. The one missing piece in most EM is ideology, so beyond its excellent concept and production The Great Crater offers a psychological depth not present in other Electronic work. Listening to Scanner, we find that he is not like other musicians. As he reaffirms the resiliency of the artistic imagination, we feel the growing impermanence of the permafrost, and that The Earth's silence may be its one remark..STAR'S END