Recording of René Uijlenhoet's Vorst aan de Grond. This is a work for two carillons, ringing bells, and two audio tracks. It was commissioned by the Utrechtse Klokkenspel Vereniging and dedicated to carilloneurs Arie Abbenes and Geert d'Hollander. This composition represents the history and significance of the connection between carillons/bells and Charles V, however the composer notes that it is not the monarch that is being honored but the eternal beauty of church bells.

Recording of Eduardo Polonio's Improvisations avec formes froides. This is a work for electronics.

Recording of José Lopez Montes' Sin Tesis. This is an electroacoustic work for tape only and was created from the challenge of organizing sound material that the composer has accumulated during the course of his learning with Csound and create a new piece. The materials that were combined were the residue of many hours of experimentation with Csound; it is therefore a work "without thesis".

Recording of Peng Guan's Seeking. This is a work for electronics.

Recording of Juan Antonio Lleo's Pulsar 32b. This work was composed as part of the 2002 Midiverso Installation at the XVIII Contemporary Music Festival, wherein the composer acts as a luthier of an impossible instrument, a hemisphere with 32 one-button-instruments. The Midiverso players are the ones who decide to interact with the system, playing different buttons and sounds. Therefore, they are the composer, player, and audience at the same time.

Recording of Luigi Morleo's Fanes for Aenea. This work is a composition for solo tape, however it is possible to be used in a performance with any instrument. The composer describes this work as a composition that distinguishes two runs that meet and realize they cohabitate but don't create an acoustic fusion.

Recording of Ana Gabriela Yaya Aguilar's Mi Sol Menor. This work was inspired and dedicated to the composer's sister, Soledad, who plays harp. This piece is a sound portrait about the relationship between her and her instrument throughout her life. The work as a whole aims to recreate the relationship between a musician and his instrument.

Recording of Sten Hanson's Valse Chosande. This is a work for electronics.

Recording of Eduardo Montilla's Paisaje ondualar. This work is based on virtual wind instruments and DSP as well as both synthetic and concrete sounds. This piece represents the silence before the sunrise and an imaginary landscape in dreams.

Recording of Danny MacCarthy's The Soundmasters Farewell to the Island. This is a work for electronics

Recording of Oleg Makarov's Not to you. This is a work for electronics.

Recording of Anna Maciejasz-Kamińska's SANmutinD. This work explores the idea of transformation of time, history, inventions, etc. The composer points to the mystery of electroacoustic sound structure and the in-depth contact with the inside of the music matter. The composer has used a folk melody that comes from the Podhale region as a decorative motive.

Recording of Artem Vassiliev's In the leap second. This piece is the composer's attempt to creatively reinterpret the phenomenon of a "leap second". There are certain acoustic parameters and structural proportions in this piece which are determined by numerical relations between the two different systems of time measurement: Ephemeris Time and Coordinated Universal Time.

Recording of Manuel de Elias' Non Nova Sed Nova. This is a work for electronics.

Recording of Fernando Laub's Paseo por un Bosque Analógico. This is an electronic piece made with only artificial material. The composer compares it to a trip across a synthetic forest.

Recording of Taro Yoshihara's The vision of that day. This is a work for electronics that the composer describes as a "recollection of a tale" that was "repeated in the recollections of its past.

Recording of Angelo Benedetti's Incubi. This is a work for electronics. The composer describes this piece as encapsulating "the powerful emotion of awakening". It includes strong and vivid sound situations that follow and interrupt each other as they guide to the conclusion of the path.

Recording of Miroslav Bázlik's Primordial Envelope One Of J.S. Bach's Fugue. This work is dedicated to famous Czech topologist and the composers teacher, Miroslav Katetov. This is an electroacoustic immersion into Bach's fugue by means of basic prime number structure.

Recording of Lars-Gunnar Bodin's The Enigma Machines. The inspiration for this piece came from the composers fascination with the sounds produced by mechanical devices and machines and the often impossibility of figuring out what the machines actually manufacture. The composer lends this idea to the concept that one should learn to listen to sounds without taking into consideration their production "history". In this composition, the composer has attempted to create or imitate sounds from imaginary "mechanical" objects.

Recording of Jan Schacher's Phenotype. This work is a short extract from a digital improvisation on stage by the composer who goes by the stage name "Jasch".

Recording of Martin Neukom's Studie 18.8. This piece is part of a collection of small movements that each represent a different variation of sound distributions. In this work, the generated sounds are repeated with increasing amplitude and duration.

Recording of Jürg Lindenberg's Intergalactic Pipeline. This work was inspired by a photograph taken with the Hubble telescope. The composer attempted to transform it into sound using electronics.

Recording of Diana Pérez Custodio's La nieve es negra. This is a work for tape that was a part of another larger work, Políptico, which was composed in 1999 and inspired by several paintings by the painter Luis Gordillo. This piece premiered as part of the 34th Festival International des Musiques et Créations Électroniques.

Recording of Stephan Dunkelman's Kajsa : 3 femmes et un promeneur. This is a work for stereo fixed medium that was created as the soundtrack for a video by Jérôme Thomas.