Trunk

CARY, TRISTRAM - Its Time For Tristram Cary

Subtitled: Works For Film, Television, Exhibition & Sculpture. The Trunk label presents one of the most important, innovative, influential and almost-forgotten artists of all time, British/Australian electroacoustic composer, Tristram Cary. Without Tristrams inventions and musical experiments, Dr. Who would sound very different. Wed have no VCS3 synthesizers, no Brian Eno, no crazy electronics for Pink Floyd, etc. This is a retrospective of the composers work, including some of his unreleased experimental music as well. The third son of famed novelist Joyce Cary, he had a keen interest in music, science and electronics. He studied at Trinity College and served as a radar operator in the Royal Navy as war broke out. After the war, he began building an electronic music studio (the first of its kind in the UK), experimenting with discarded military equipment. By 1954, he was earning a living as a composer, and in 1955 got the job of writing all the music for a new Ealing movie, The Ladykillers. He worked for the BBC on many occasions, most infamously creating the music and otherworldly effects for the Dr. Who Daleks seven part series in 1963. In 1967, he founded the Royal College Of Music Electronic Studio, wrote the groundbreaking music for Hammers Quatermass And The Pit, and in 1969 along with Peter Zinovieff and David Cockerell founded EMS (Electronic Music Studios), the UKs first ever synthesizer company. Their first major products included the VCS3 synthesizer, the suitcase Synthi and the Delaware, equipment that became the modern musical tools of their times. On demonstration tour in Australia he was offered further work, and moved to Adelaide in 1974 where he worked at the University under a number of different musical titles. He left in 1986 and returned to composing, and in 1991 received the Medal Of The Order Of Australia for services to Australian music. He carried on developing sound, consulting and composing for the rest of his life. This is the first time much of Tristram Carys musical output has been issued, and it includes his music made for sculpture, for the 1969 Expo, compositions he made for Olivetti using their office equipment and a choir, electronics he devised for Casino Royale, classical music he produced for documentaries and curious effects he developed for films about money and design. It shows he was equally comfortable working in classical compositions, with electronics or working in a concrète style. - Trunk.

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After nearly a decade of false starts, multiple game plans veering off the rails, and a handful of shattered hopes and/or dreams, the odyssey is finally complete—the new Fusetron site is here.

This is the first phase of a multipart rollout that will span the next few months: the currently browsable stock includes miscellaneous new releases from the past 8+ months (we have a lot of catching up to do), plus approximately a third of our backstock. Note that we’ve reduced/slashed prices on many titles and will continue to do so in order to make room for new stock. We’ll also be expanding / tweaking / improving / debugging the site itself (for example, we still have work to do on the automated international postage system, not to mention the inevitable inventory discrepancies that come with transferring an ancient and massive database to a new system).

Over the next few months, as we take inventory, clean house, and delve into our storage, we will be uploading thousands of additional items, gradually, on a near-daily basis. This will include the majority of the LPs, as well as many titles, in all formats, once thought long-gone. Many currently “sold out” items are likely to resurface.

Finally, once our general backstock is up (probably in the next two or three months) we’ll begin making our extensive stockpile of rarities available online for the first time: tons of random out-of-print titles, "deadstock," warehouse finds, secondhand collectibles, etc., accumulated over the past few decades.

Frequent/returning customers will be getting early access to these items. Details to follow on how this will work (a priority mailing list? a 'frequent flyer'-like program?), but it will not be based on dollars spent. We want to reward those who consistently support us, especially in the discogs marketplace era (to those who show up trying to poach five copies of a one-off rarity, and nothing else, ever… ¯\_(ツ)_/¯ ).

So—we suggest you take some time to dig through the site—even we’ve been surprised by what’s been turning up, and there’s much more to come.
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