Various - Snatch Paste

Side A

1. David Jackman - Blues

2. Storm Bugs - Dull Sound of Breath Inside a Tin

3. Mannequin Moves - The Girls You Left Behind

4. Philip Sanderson - Under Press of Sail

5. Tony Clough - Untitled

Side B

1. The N4s - N4

2. Alien Brains - Song

3. Karl's Empty Body - 1464

4. Oroir - Call

5. Claire Thomas & Susan Vezey - Diamonds & Ashes

Credits:

Format: LP, 500 numbered copies

Release Date: 2006

Label: Vinyl on Demand

Catalogue Number: VOD32

Sleeve Design: Philip Sanderson

LP compiled and mastered by Philip Sanderson

Notes:

The LP sleeve is in matt reverse card but there also exists 5 copies (hand numbered) with a glossy cover instead of matt. 

A4, A5, B1, B3 origianlly released on Snatch 1.

A3 origianlly released on Snatch 2.

A1, B2, B4 origianlly released on Snatch 3.

A2, origianlly released on the Storm Bugs Gift cassette.

A5, previously unreleased.

Reviews:

From: the Sound Projector 16th Issue by Ed Pinsent

We've been hearing a fair bit from Storm Bugs over the years, so here's this welcome and timely survey of Philip Sanderson's Snatch Tapes imprint that operated in the UK in the late 1970s and early 1980s. He issued three compilation tapes (called Snatch 1-3), and some of the best contributions tothat series are now reissued here on vinyl via a selection made by Sanderson and representing the years 1979-1981.

 

Outside of David Jackman (who opens the comp with an exceptionally strong piece) and Sanderson's projects, all the names here are new to me. The thing that struck me was how unique and distinctive everything sounds here, yet all recognisably part of a very English cassette band scene that seems totally bound to that time and that place. I don't just mean the home-made feel, the use of primitive drum machines and basic synth programming, but the overall polite, cold and strained feelings that seem to emanate from almost all of this music. Every cut is slow and sad, melancholic with a bleached beauty. I'm already starting to get nostalgic for the harsh winter of 1981.

 

Three of the ten cuts are devoted to Sanderson-related projects Storm Bugs, the Claire Thomas and Susan Vezey hoax, and a solo recording. All are excellent in ways that we have already remarked on in previous issues, with the unreleased version of 'Diamond and Ashes' being particularly stunning (true to its title, it has a crystalline beauty). And Storm Bugs' 'Dull Sound of Breath Inside a Tin' exhibits some spectacular inventions in terms of the arrangement of its simple elements, as though the creators were pushing blocks of noise around like playing cards. Jackman's 'Blues' from 1980, heard here in a two-track tape version, is a rugged experiment of cymbals and tape loops generating an embryonic form of the heavy droning that he would later mastermind as Organum.

 

That's pretty much it as far as 'experimental' goes on this LP, however. The remaining cuts are equally attractive, and they are in the main examples of very good UK post-punk bleakness, expressed as instrumental or song; plenty of alienation, mystery and edginess, but nothing radically innovative in the arrangements or playing, which remain grounded in rock music. I think this is true of the tracks by The N4s and Karl's Empty Body, much as I love their wayward gnarly-rock capabilities. Mannequin Moves do a great song 'The Girls You Left Behind', wherein feelings of love have never seemed so futile; their use of cold synth and plodding drum machine is inspired. Orior manages a similar chill on the instrumental 'Call', but it's an oddly pointless exercise. Only Alien Brains, with his 'Song', returns us to slightly more dangerous turf; in just two minutes, he effortlessly combines raw electronics with radio samples to create a real sense of paranoia. The riots in Brixton and Toxteth have left a ghostly but discernible imprint on this track.

 

A perfect 'autumnal' listen for UK music fans, although I am certain this quality music is being lapped up with relish by the fans who subscribe to label owner Frank Maier's aesthetic and enjoy music of this vintage. The rush to explore this cassette era is somehow symbolised by the cryptic cover, but the disembodied hands so eagerly reaching for the tape box appear to be made of wax, or dummy's hands. It's slightly disconcerting.

 

Needless to say, this will appeal to fans of the modern field of limited cd-r label free noise ambient sound makers, Celebrate Psi Phenomenon, PseudoArcana, Digitalis, if you've been loving all that stuff, this will absolutely hit the spot.

Rewind

 

 

Storm Bugs - Lets Go Outside and Get it Over

 

Track listing:

1. Eat Good Beans

2. Hodge

3. Dull Sound of Breath

4. He Rose Up Again 

5. And She Blew

6. Slip Slap

7. Car Situations

8. Aboulia

9. Window Shopping 

10. A Safe Substitute

Tracks 1, 2, 4, 5, 9 by Philip Sanderson, tracks 3, 6, 7,10 by Philip Sanderson & Steven Ball

 

Credits:

Format:CD, 500 copies

Release Date: 2001

Label: Snatch Tapes

Catalogue Number: TCH 213

Sleeve Design: Philip Sanderson & Steven Ball

 

Notes:

A CD compilation of the Bugs finer moments digitally remastered from the original Snatch Tapes cassette and vinyl releases. CD now sold out.

 

Reviews:

From: the Sound Projector, 9th Issue by Ed Pinsent

"Storm Bugs ingeniously exploited the distorted vibrations they could tweak out of domestic hi-fi gear. With such primitive resources it's clear that there was some sharp creative judgement going on, because none of these ten tracks ever sound like two teenage herberts mucking around with biscuit tins and their Dad's stereogram. There are superficial echoes of This Heat and early Cabaret Voltaire but the skilfully layered textures of wireless interference, manipulated voices and faltering rhythmic clumps do justify the claim to a unique Storm Bugs sound. The track Window Shopping sucks you backwards through a time tunnel into the dawning Thatcher era, its clattering voices crowds of consumerist drones bustle through Oxford Street in the 1980 Christmas rush."

 

From: Gullboy

"Storm Bugs are an anomaly. How could such sounds, radically challenging the accepted texture of electronic music, have been recorded over 20 years ago? And how come nobody has ever heard of them? The tracks on Let's Go Outside and Get It Over... exhibit Storm Bugs' spacious, reverberating grittiness. Howled vocals shift from front to background in the midst of industrial pounding percussion loops, urgent echoing monotones and an array of tinny sound effects. The quiet moments on these songs are underlayed by disturbing mechanical creeks and muted primal thuds that evoke the cynical futurism of Fritz Lang or George Orwell. As complex and foreign as much of these recordings sound, the hand-made, DIY ethic of the group's production is distinctly present.".

 

From: Other Music

"I first became aware of the Storm Bugs due to their inclusion on the recent (and wonderfully dodgy) I Hate The Pop Group compilation... ...they were spiritual forefathers to Oval and today's Clicks & Cuts generation... ...I thrive on this kind of stuff and this is like uncovering a lost NWW album; my only complaint would be that these guys probably have enough material to fill five CDs.

 

Philip Sanderson - Hollow Gravity

Side A

Introduction

Prefabrication

Chance Operation

Tooting Broadway

The Secret Of The Fountain

Low Flying Branches

Bodysnatcher

 

Side B

Mr. Electrico's Revenge

Crystal Set

Pickle Pin

Hard Shoulder

Spaghetti Tension

 

Credits:

Format: Vinyl LP, 100 copies

Release Date: 2012

Label: Puer Garvy

Catalogue Number: PG002

Sleeve Design: Philip Sanderson

 

Notes:

Limited to 100 numbered copiesd each with laser etched labels and silk screened sleeves. All tracks by Philip Sanderson.

 

Review:

From: the Wire magazine, September 2012 by Edwin Pouncey

Philip Sanderson, electronic musician, installation artist, co-founder of Storm Bugs and founder of underground British tape label Snatch Tapes, returns with Hollow Gravity, a beautiful slab of vinyl with laser etched labels that flicker gently on the turntable as the disc rotates and the sounds pulse. This latest solo release from Sanderson follows 2005's album Seal Pool Sounds, a melancholic portrait of zoos that was also spiced with a mischievous erratic humour.

 

Hollow Gravity is sombre but still playful, as Sanderson bolts together an imaginary science fiction soundtrack with his collection of analogue synthesizers, delay pedals and any other electronic junk that comes to hand from the pile. The results are zany and mysterious, occasionally flecked with a hint of menace, a sense of danger, a boiling vat of electronic music that occasionally sounds like the work of a mad scientist.

 

From: Aural Innovations blog by Jerry Kranitz

 

Puer Gravy is the vinyl only label run by Eric and Matt of Vas Deferens Organization and Philip Sanderson's Hollow Gravity is the label's second release. Let's start with some historical notes…

 

Philip Sanderson was in the thick of the UK post-punk DIY homemade music/cassette culture scene that enjoyed a brief period of visibility (if not significant sales) in the late 70s and earliest of 80s, with regular coverage of hometaper releases in the nationally distributed New Musical Express and Sounds, airplay by John Peel, and even some distribution through Rough Trade. It was a heady period when people believed that DIY releases could actually break the stranglehold of, or at least subvert to some extent, the major record companies.

 

From 1978-81 Sanderson's Snatch Tapes label released compilations, the first recordings of David Jackman (Organum), and tapes by the Storm Bugs, Sanderson's recording project with Steven Ball, which encompassed noise, soundscapes, cut-ups and collage, songs… all manner of sonic exploration. In fact, Sanderson had a leg up on most of his peers, explaining in a Sound Projector interview (issue #16, 2007-08) how he had access to the electronic music studio at Goldsmiths, University of London, the result being that Storm Bugs releases often consisted of both bedroom studio recordings and those done in the electronic music studio at Goldsmiths. In the same interview Sanderson also describes how during this brief window of time he could take Snatch Tapes releases to the Rough Trade warehouse and they would buy copies without even listening to them, and had a Snatch Tapes display in the Rough Trade shop, all pretty remarkable when you stop and think about it.

 

I could go on as hometaper/cassette culture history is a fascination of mine but I felt a little Sanderson background was important. So… on to the new Philip Sanderson LP, his first album of new material since 2005_s Seal Pool Sounds CD. Hollow Gravity consists of 12 tracks and Sanderson employs an arsenal of gear, including Korg Montron, Yamaha CS-15, Circuit bent Casio PT-280, Long and Short Wave Radio, Guitar, Evans EchoPet EP-100m WBL 4014, NDA Plug-ins, Soundforum Synth, SoundEdit 16, and Sound Studio 3.

 

The album includes an intriguing variety of electronic, spaced out, and creatively tape manipulated concoctions. Among the highlights is Prefabrication, on which Sanderson lays down a strange electro guitar-ish/percussive pattern that reminded me of a track from Goblin's Suspiria soundtrack, and indeed the music has an intense sci-fi/horror flick vibe, and even develops an oddball rhythmic groove. The titles on the back of the LP include little descriptive blurbs, and Chance Operation is described as “For circuit bent piano and cut-up Cage”, featuring a sparse piano melody, eerie soundscapes, narrative voice samples, and other effects. Cut-ups… Chance Operation indeed.

 

Among the more whimsical fun-with-tape tracks is the jazz band tape manipulation of Tooting Broadway, mixing wild sounds and voice samples from some old advertising or educational recording on The Secret Of The Fountain, the captivating combination of angelic ambient waves and bleepy blurpy electronics on Low Flying Branches, the fun strange spaced out bouncy electro melody of Crystal Set, and the Residents Goosebumps toy instrument style of Pickle Pin.

 

We've also got some really cool and off-the-beaten-path space excursions. Bodysnatcher is like early Tangerine Dream remixed to inject a melodramatic orchestral edge. Described as “A ballad for J.G. Ballard”, Hard Shoulder consists of spaced out soundscapes that starts off with a claustrophobic feel, but slowly adds layers until I felt like the sole passenger on a space station. And Spaghetti Tension has similarly spaced out soundscapes, but with more sound experimentation plus a strange and hypnotic sense of melody.

 

In summary, Hollow Gravity serves up a creative and often fun blend of electronics and sounds, all cleverly tape manipulated to create music covering of range of spaced out and experimental realms. Note that the LP has been released in an edition of only 100 copies and is pressed on 180-gram laser etched vinyl (which vinyl junkies will dig for sure).

Various - I Hate the Pop Group

Side A

A1 Prats - Prats 2 

A2 The Janet And The Johns - Let Bygones Be Bygones 

A3 Brent Wilcox - 8 Parts Leisure 

A4 Noh Mercy - Caucasian Guilt 

A5 Storm Bugs - Cash Wash / Eat Good Bean 

A6 The Door And The Window - I Hate Sound 

A7 AK Process - Post Town

  

Side B

B1 Men/Eject -Draw 

B2 Sellouts - Ballad Off The Fuck Off Records 

B3 Danny And The Dressmakers -Truth About Unemployment 

B4 E.g Oblique Graph - Black Cloth Behind De Gaulle's Wax Head 

B5 File Under Pop -Heathrow 

B6 Band T Plus Instruments - Words 

B7 Orchid Spangiafora -Trapped Heir Suite Part One 

B8 Doof (2) - (Treat Me Like) The Man I Am / Brighton Pt One

 

Credits:

Format: LP, 300 copies

Release Date: 2000

Label: Vertical Slum Records

Catalogue Number: R-44

Sleeve Design: Unknown

 

Notes:

Bootleg compilation of UK & US DIY singles from the 70s and early 80s

 

CV

CV  Philip Sanderson

This list combines screenings, gallery installation and musical releases.

  

Solo Exhibitions

2015: Chronocuts (video series), exhibited as part of Trash’d NewWave Festival at Memorial Gallery, Hastings, UK.

2002: On Some Faraway Beach, Hastings Museum and Art Gallery, UK. 

2002: Boating for Beginners, Pump House/Battersea Park, London, UK.

1997: Overheard Overhead, The Vestry, London, UK.

1996: Somewhere over England, Conductors’ Hallway, London, UK.

1996: If we can sparkle he may land tonight, Tannery, London, UK. 

 

Group Screenings/Exhibitions

All works by Philip Sanderson unless otherwise stated. 

 

2023:

Typing Pool (video) (2018) screened as part of screened as part of One Minute Volume 11. aContemporary Art Ruhr, Germany.

Snatch Tapes Symphony (Limited Edition Lathe Vinyl LP) (2023) Snatch Tapes, UK.

Dilly Dreamers (Limited Edition Lathe Vinyl LP) (2023) Astres D'Or, Netherlands.

2022:

Green on The Horizon (made with Steven Ball) (video) (1988) screened as part of The Unreliable Narrator, BFI/NFT, UK.  

Something in The Air (video) (2020) screened as part of One Minute Volume 10 

at 303 Projects, UK.

Up Close (video) (2022) screened at: Exploding cinemas Hastings, UK.

Passionate Particles (CD) (2022) Klanggalerie, Germany.

Noisy Nylon – Ice Yacht (MC) (2022) Snatch Tapes, UK.

Lost with all Hands (DL)) (2022) Snatch Tapes, UK.

 

2021:

24 Trains a Second (video) (2021) Fields of View, UK.

One Minute Volumes 1 - 10 archived at The British Film Institute

Something in The Air (video) (2020) screened as part of One Minute Volume 10 at Contemporary Art Ruhr, Germany.

Not Even my Closet Friends (MC) (2021) Snatch Tapes, UK.

 Colour Buffer - Ice Yacht (MC) (2021) Snatch Tapes, UK

 

2020:

Tracking (video) (2017) screened at Greenwich SOUND/IMAGE Festival, University of Greenwich, UK.

Something in The Air (video) (2020) screened as part of One Minute Volume 10 on VisualContainerTV, UK, and at Contemporary Art Ruhr, Germany.

The gift of sound and vision: Visual music as a form of glossolalic speech. In Sound and Image (pp. 120-131). Focal Press, UK.

Pillbox – Ice Yacht (MC) (2020) Snatch Tapes, UK.

Rumble of The Ruins (MC) (2020) Snatch Tapes, UK.

Storm Bugs (Philip Sanderson & Steven Ball) - A Safe Substitute (CD) (2020) Klanggalerie, Germany.

 

2019: 

Green on the Horizon (video) (1988) (with Steven Ball), Hangway Turning (video) (1990), Film of the Same Name (video) (2016) (with Steven Ball) all screened at 51Zero festival, UK.

Chronocuts (video) (2015) screened at Last Thursday Film Club, UK.

Storm Bugs - ‘Full Moon in My Pocket’ included on compilation Your Song, My Foot! Vol. 3: The 1979 Edition (MC) (2019), WFMU, USA.

Storm Bugs - ‘Take it to The Top’ included on compilation ContraPop Festival 2018: The Third And Tidal Report (CD) Extra Normal, UK.

 

2018: 

Pebble Dot Dash (video) (2018) hosted on the Wire Music Magazine YouTube channel, and presented as part of MPE & MeCCSA Practice Network Symposium 'Contexts of Film Practice', at University of Lincoln, UK. 

Tracking (video) (2017) screened at Darkroom Film Festival, UK. 

Twenty-five minute programme of videos by Sanderson screened at Mashcinema at Nozstock Festival, UK. 

Ten videos by Lumière & Son (Thomas Wiesner and Philip Sanderson) screened at London Art Fair, UK.

Typing Pool (video) (2018), and Pebble Dot Dash (video) (2018) screened at London Animation Club, UK.

Film of The Same Name (video) (2016) animation segments screened as part of Am1nation 2018 at London Animation Club, UK.

On One of These Bends (vinyl LP) (2018), Séance Centre, Canada.

 

2017: 

Tracking (video) (2017) screened at: Bogotá Experimental Film Festival, Colombia, and at The Sound / Image colloquium University of Greenwich, UK. Nutcracking (video) (2010) by Lumière & Son screened as part of VisualcontainerTV, UK. 

“Resisting immersion in Visual Music:  The case for heightened listening and looking, and against pseudo-synaesthesia” paper presented at Sound / Image colloquium, University of Greenwich, UK. 

 Storm Bugs - Certified Original and Vintage Fakes (CD-R) (2017) Snatch Tapes, UK.

 

2016: 

Moth Flight (video) (2016) 'recommended' in the awards at the 75 Second Film Awards, Amy Johnson Festival Hull, UK. 

Self-Oscillation (video) (2016) selected for One Minute Programme Volume 9 screened at over 40 venues, UK and international. 

Green on The Horizon (video) (1988) (Philip Sanderson & Steven Ball) selected for BFI London Filmmakers Co-operative online collection. 

Presented paper and supporting videos as part of ‘C21 Music Practices: Sound & Image’ at London South Bank University, UK.

Lumiere et Son – presented paper and supporting videos as part of ‘The City as Modernist Ephemera’ at London South Bank University, UK.

Storm bugs – ‘Hiemal’ and ‘Little Bob Minor’ included on compilation (CD/LP) Close To The Noise Floor: Formative UK Electronica 1975-1984 (2016) Cherry Red, UK.

 

2015: 

Kisser (video) (2007) screened as part of Altered States, Electro Studios West St Leonards, UK.

Battle of the Pixels (video) (2015) screened as part of One Minute Hull Artists' Moving Image Festival, UK. 

Fleshtones (video) (2006) screened as part of Sound and Image Colloquium, University of Greenwich, UK. 

Chronocuts (video) (2015) screened/installation as part of Trash'd New Wave Festival exhibition, Memorial Gallery, UK. 

Ice Yacht - Pole of Cold (MC) (2015) Fragment Factory, Germany. 

2014: 

Aye Aye (video) (2010) by Lumiere et Son (Thomas Wiesner and Philip Sanderson) selected for One Minute Volume 7, screened at over 30 venues, UK and international. 

Back Projection (DL) (2014) Snatch Tapes, UK.

 

2013: 

Artist talk and screening of Fleshtones (2006), Kisser (2007), and Jiggery Pokery (2005), at London Animation Club, UK.

Insoluble (video (2012) selected for 100 x 100 touring exhibition, screened at over 40 venues, UK and international. 

Storm bugs – ‘Cash Wash’ included on compilation An Anthology of Noise & Electronic Music #7 (Compilation) (CD) (2013) Sub Rosa, Belgium.

 

2012: 

Hollow Gravity (vinyl LP) (2012) Puer Gravy, USA. 

 

2011: 

Nutcracking (video) (2010) by Lumiere et Son selected for One Minute Volume 5, screened at: 24 venues, UK and international.

Storm Bugs  - A Safe Substitute (vinyl LP) (2011/1980) Harbinger Sound, UK

 

2010: 

Product Recall  (video) (2009) selected for Iota Centre YouTube Channel.

Time Travel (video) (2010) by Lumière & Son selected for One Minute Volume 4, screened at over 10 venues, UK and international.

 

2009: 

No Particular Place to Go (installation) (2009) solo exhibition at Memorial Gallery Hastings, UK. 

Quadrangle (video) (2005) screened at Visual Music Marathon, USA. 

Fleshtones (video) (2006) screened at Iota Salon, USA.  

Kisser (video) (2007) screened at The BAck door, Australia. 

 

2008: 

Landfill (video) (2008) screened at London International Animation Festival, UK.  

Kisser (video) (2007) selected for One Minute Volume 2 screened at 9 venues, UK and International.

Storm Bug - 'Car Situations (Nasal Passage)’ included on compilation Messthetics Greatest Hiss (CD) (2008) Hyped to Death, USA. 

 

2007: 

Storm Bugs - Neither Here Nor There (2007) video performance The Foundry, UK.  

Engine Trouble (video) (2005) screened at Camera Obscura, Australia. 

Jiggery Pokery (video) (2005) selected for One Minute Volume 1 screened at over ten venues, UK and international. 

Quadrangle (video) (2005) screened at Visual Music Marathon, USA. 

Head of Steam (video) (2006) screened at Magmart Tour,Italy.

Engine Trouble (video) (2005), Fleshtones (video) (2006) Jiggery Pokery (video) (2005) all screened at Cog Collective, UK. 

Storm Bugs - Supplementary Benefit (vinyl LP) (2007/1980) Vinyl on Demand, Germany. 

 

2006: 

Quadrangle (video) (2005) screened at Lumen Leeds, UK. 

Engine Trouble (video) (2005) screened at Video Under Volcano, Italy.

Snatch Paste - Compilation (vinyl LP) (2006 Vinyl on Demand, Germany. 

 

2005: 

Row Row (video) (2005) screened at Videolisboa, Portugal. 

A Rooco Din (video) (2004) screened at 291 Gallery, UK, Exploding Cinema, UK, Videolisboa, Portugal, and at Berlin Videonale, Germany. 

Quadrangle (video) (2005) screened at Prog ME, Brazil, and at Island Art Film & Video Festival, UK. 

Seal Pool Sounds (CD) (2005) Seal Pool, USA.

 

2004: 

Notice Board (installation) (2004) as part of group exhibition Hat on Wall, UK.

A Rooco Din (video) (2004) screened at Lux Exposure, UK.

Storm Bugs - Up the Middle Down The Sides, (vinyl LP) (2004/1980) Fusetron, USA. 

 

2003: 

Storm Bugs  -'For Internal Use Only' included on compilation (CD) (2008) Adverse Effects, UK.

 

2002: 

On Some Faraway Beach (installation) (2002) solo exhibition at Hastings Museum and Art Gallery, UK.

Boating for Beginners  (installation) (2002) solo exhibition on boating lake/Pump House Gallery, UK. 

Reprint (CD) (2002/1980) Anomalous Records, USA. 

'Terrain' (Philip Sanderson/David Jackman) (vinyl EP) (2002/1980) Die Stadt, Germany.

'Offshore' (Philip Sanderson/David Jackman) (CD) (2002/1981) Robot Records, USA.

 

2001: 

Moderate with Fog Patches (installation) (2001) as part of group exhibition Wordplay, Q Arts, UK. 

Storm Bugs - Let's go Outside And Get it Over (CD) (2001) Snatch Tapes, UK.

 

2000: 

The Improbability Calculator (installation) (2000) as part of group exhibition Spectrum, Turtle Arts, UK.

 

1999: 

Phantom Power (installation) (2000) as part of group exhibition Letting the Days go by, MOTA, UK. 

 

1998: 

Home Video (installation) (1998) as part of group exhibition Baffle, Camerawork, UK.

 

1997: 

Overheard Overhead (installation) (1997) solo exhibition at The Vestry, UK. 

Hot Seat (installation) (1996) and Phantom Power (installation) (1997) as part of group exhibition Glow, Walsall art Gallery, UK. 

'If O became E', (installation)(1997) as part of group show Conductors' Hallway, UK.

 

1995: 

Hot Seat (installation) (1996) as part of South London Gallery Open, UK. Winner of Artist’s Prize.

 

1996:

Somewhere over England (installation) (1996) solo exhibition at the Conductors' Hallway, UK.

 

1992:

Shadowman (video) (1991) screened at New Media Festival Osnabruck, Germany, and at London Film Festival, London, UK.

 

1990: 

Green on the Horizon (video) (1988) (with Steven Ball), Hangway Turning (video) (1990) screened at over thirty venues including the Tate, ICA, Osnabruck, and the Piccadilly Film Festival. 

 

Education

PhD, University of Westminster, 2016  

PCHE, London South Bank University, 2012

MA Fine Art, Kingston University, 2002

 

 

 

 

This site documents sound, moving image and installation by Philip Sanderson. Use the above menu to navigate.

Chronocuts

The Chronocuts began as a happy accident - whilst testing out a new web page in 2006 I found the movie clips loaded one after the other, in sequential order. I began to see the possibilities for using this technique to slice up and re-arrange movies. Initially the Chroncouts were made using this online system but I quickly shifted to using video editing software instead. Enough of the technicalities Chronocutting a movie allows one to some degree to re-see it afresh, playing with the space time continuum.

Up Close (2022)

A time slicing of ARG's L'Immortelle.

Screened at: Exploding Cinema Hastings (2022).

24 Trains a Second (2021)

In which Miss Marple is time sliced on the 4.50 from Paddington.

Screened at: Fields of View, UK (2021).

Through The Glass (2007/09)

Cocteau receives a Chronocut. An online version was made in 2007 this version was produced in 2009.

Screened at: Memorial Gallery Hastings (2009), Trash’d NewWave Festival at Memorial Gallery, Hastings, UK (2015).

Iffy (2007/9)

In which a section from Lindsay Anderson's finest work is Chronocut. An online version was made in 2007 this expanded version was produced in 2009.

Screened at: Memorial Gallery Hastings (2009), Trash’d NewWave Festival at Memorial Gallery, Hastings, UK (2015).

Alphabette (2007/9) 

In which a section from JLG's dystopian tale is Chronocut. An online version was made in 2007 this expanded version was produced in 2009.

Screened at: Memorial Gallery Hastings (2009), Trash’d NewWave Festival at Memorial Gallery, Hastings, UK (2015).

Where The Air is Clear (2009)

Mary P gets time sliced. An online version was made in 2008 this version was produced in 2009.

Screened at: Memorial Gallery Hastings (2009), Trash’d NewWave Festival at Memorial Gallery, Hastings, UK (2015).