light but not flimsy

experimental soundscape
all music, sounds, and images by Steve Carlton Smith © 2025

Psilocybr

Asteroid Laws

A funky version of The Nicene Creed!
John 1:1…In the beginning was the Word, and the Word was with God, and the Word was God. Just did this, tonight, 12/27/25.. seemed appropriate.. I dropped my @ Linus blanket.. decided to praise my God, LORD, and Creator! 🙏🙏🙏

Nicely Nice

CARD BLANCHE / ulrich langenbach/barbara weiss

In honor of  VITTORIO GELMETTI who has had a great influence on my works. 

GELMETTI was born in Milan on April 25, 1926. Attracted by the experience of electronic music, first guest of the Discoteca di Stato, we find him at the Electroacoustics Laboratory of the Istituto Superiore delle Poste e Telecommunications where, thanks to the assistance of the director, he created some of his
most important works, including "Treni d'oni d'onda a modulation di intensity" (1963). He then worked in Studio S2FM in Florence ("Nous irons à Tahiti" - 1965 and "Intersezioni II and III in memoria di Edgar Varese" - 1965). He directed the 1st overall of "Organum quadruplum" in Rome in 1967 and the following year he arrived at the musical theater with "La description of the Great Country" (1968) on texts by Edoardo Sanguineti (Palermo 4th Week of New Music).

In 1969 he was in Warsaw where he created at the Experimental Studio of the Polish Radio
"The abandoned work is silent and turns its cavity outward", a composition that closes
Gelmetti's "electronic period". Since then he often uses magnetic tape but always together
with traditional musical instruments, as an element of equal weight. The following period is
characterized by a growing interest in memory as a substrate of every possible culture,
awareness and communicability. To this phase of the "manufactured music with music" using
"shreds of musical discourses and rubble of sound architectures" (definitions of Gelmetti
himself), works such as "Modus sonandi" (1974), "Raise le cranes a loud voice" (1975), the
cycle "Per Adrian" (1976-78), as well as "Eine kleine K music" performed by the author at the
23rd "Autumn of Warsaw" (1979) and also later chosen as a testimony of contemporary music
at the Trieste Manifestation for the Mozart bicentennial (26-28 January 24, 1991).
They are from the eighties "That is" for flutes and percussion (1980), "Apocryphe" for guitar
and small orchestra (1980), "Marta" for percussion and tape (1980/81), "Luigi" for cello (1981),
"Come d'autunno - sonata a cinque" (1983), "Apocryphe, quaderno secondo" for piano and
brass written at the invitation of "Nuova Consonanza" for the celebrations of the eightieth
anniversary of Petrassi (1983), the opera in two acts "Apocrifo, or..." on texts by Sarenco and
Eugenio Miccini (1988), of which some excerpts have been presented on various occasions.
In 1990, the theatrical music "Guernica", written on commission by the Theater des
Augenblicks in Vienna, was performed in premiere, during the Festival "'900 Musica a Trento".
Gelmetti's latest compositions are: "Brindisi di San Silvestro" for male choir on text by
Ariodante Marianni (1990) and the unfinished piece "A futura memoria - gioco a 6" (1990/91).
Gelmetti has always accompanied the compositional activity with an intense critical activity
and dissemination of music, contemporary and not. He was a member of the editorial staﬀ of
the magazine "Marcatre" (Lerici Ed.) and collaborator of "Cinema Nuovo" (Ed. Dedalo); he
created for Rai TV the musical education cycle "Tutto è musica" (1980) of which ERI published
the book of the same name; in the editions "Parole Gelate" "Nostagia d'Europa" was released
in 1984, an interview with Gelmetti by Francesco Moscardelli.
Vittorio Gelmetti is the author of various soundtracks including "Deserto Rosso" by Antonioni,
"Sotto il segno dello Scorpione" by Fratelli Taviani, "100 giorni a Palermo" by Ferrara (SIAE
award "The soundtrack of the year" for the European year of music 1985). 

He died on February 4, 1992 at the home of friends in Florence where he was buried at the
Trespiano cemetery.

Omaggio A Vittorio Gelmetti

TRAMPELFÂD
Laboratory for Contemporary Electronic Experimental Music
https://trampelfad.bandcamp.com

Rec.name : "   Sta56s "
credit :

date : 02-01-2026
Visit :
Laser Synthesizer Live Aleatoric Concert 2025
https://www.youtube.com/watch?v=w3_yn4gVTek

S3boil

looping transition

_2026-01-10_ ANNE

CRO005-12-JA026

Spasmodular, a.k.a. Spasmodular Sounds from Steve's Shortwave, composes soundscapes, featuring radio frequency sounds captured among the shortwave spectrum. 
In addition to using analog shortwave radios as a medium, various electronic instruments and field recordings are utilized as well during the process. Most often, when recording, the overall mindset is to leave tracks unmastered, in their raw organic form, and mixed quickly. Some pieces may eventually be remixed properly and released at future dates on different playable formats.
Many thanks to all, for listening to and sharing these tracks, your feedback is appreciated!✨

Psilocybr

Spasmodular

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