Philip Sanderson ‎– Reprint

Anomalous Records ‎– NOM 23
CD, Album, Reissue

Tracklist Hide Credits

1 Bright Waves
Effects [Tape Delay] – Philip SandersonVoice – Nancy*
2 Reprint One
Synthesizer [Vcs3], Effects [Tape Delay] – Philip Sanderson
3 Nein Nein Nein
Effects [Ring Modulator], Synthesizer [Synthi-bug], Voice – Philip SandersonGuitar, Xylophone, Performer [Bric-a-brac] – Steven Ball
4 Reprint Two
Synthesizer [Vcs3], Effects [Tape Delay] – Philip Sanderson
5 Under Press Of Sail
Synthesizer [Vcs3], Effects [Tape Delay] – Philip Sanderson


Originally released on cassette as Snatch Tapes tch 220 in 1980 and credited to the pseudonym "Claire Thomas & Susan Vezey". This CD reissue contains bonus tracks not on the original cassette. Edition of 500 copies.



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July 18, 2014
Review from: the Wire Magazine by Jim Haynes:
Part shrewd marketing manoeuvre, part homage to Marcel Duchamp's alter ego Rose Selavy, DIY electronic pioneer Philip Sanderson donned the personna of Claire Thomas & Susan Vezey as two female electronic minimalists in the late 70's and early 80's. He kept up the charade long enough to land a Thomas & Vezey track on the 1980 Cherry Red compilation Perspectives and Distortion but was thwarted in his attempts to when the label discovered that Claire & Susan were not who they claimed to be. Sanderson subsequently released those recordings as the Reprint Cassette through his Snatch Tapes [actually the cassette release came first and was what led Cherry Red to discover Thomas and Vezey], which published his other project Storm Bugs and a couple of recordings from the then unknown composer David Jackman.

23 years later the electronic din of Claire & Susan resurfaces, although the author is no longer hiding behind the pseudonym. Fortunately the music of Reprint (Anomalous NOM23) is much more than a giddy prank. Aptly described by Sanderson as 'an inverted Pop Art aesthetic', Reprint graft a grimy brutism culled from home made ring modulators and dismembered answering machines onto the sterile arepeggiations and polyrhythmic interplay of Cluster or Chris Carter's early productions. what may have been consigned to the dustbin of 1980's cassette culture turns out to be a marvellous find, as good as any of the recently recovered cassettes of recordings of Cabaret Voltaire or Throbbing Gristle."