Recording of Pedro Guajardo Torres' Toy Music. This work is an electro-acoustic piece based on musical toys that have been sampled and processed using basically analogic techniques.

Recording of Amnon Wolman's Edge music.

Recording of Cort Lippe's Music for sextet and ISPW. Sounds from flute, piano, bass clarinet, trombone, cello, violin, and electronics. This work emphasizes the use of electronics as instrument and contains lots of dialogue and communication between the electronics and acoustic instruments.

Recording of David Jaffe's Terra non Firma. This work is for 4 cellos and a conductor. The piece commemorates the San Francisco earthquake of 1989. The instruments quiver with grunts, buzzes, jolts and wobbles. The cellos go one step further by undermining the sense of losing balance as they slip and wiggle from note to note, tugging and groaning without ever finding a rest. Fragments of different musical styles (polka, waltz, tango...) are thrown around like debris and everything is constantly unstable.

Recording of Dieter Kaufmann's Grand jeu. Throughout this piece the accordion needs to find its identity. The pathos of "serious" music and an experimental position, he fights against his mirror image which is reflected to him by the loudspeakers. All the sounds of the band are produced in the "accordion sound factory", They have been transformed and worked in the studio to become the counter-image of the accordionist. The composition is made up of three scenes: sketch-waltz, sketch-tango, and czardas.

Recording of Eduardo Reck Miranda's Goma Arábica. This piece consists of music from Xingœ and Boror - Brazilian native tribes, Western orchestral music, and synthesized sounds. The composer credits the orchestral music to the Chamber Group of Scotland. The title of this piece comes from the adhesive properties of gum Arabic and this inspired alchemists to use its name as the Arcanum name of a secret substance for transmutation.

Recording of Alain Basso's Affranchi. This piece involves discourse between two sets of sounds, all of which are from sound recordings. The first set of sounds is comprised of aggressive tool and machine sounds, while the second set of sounds comes from soundscapes with more peaceful elements. As the composition progresses, the two sets of sounds mingle in a violent unison, while gradually a third element comes to weaken this turbulence: human breathing, calm and deep, described as a reminder of the essential in the middle of the agitation.

Recording of Curtis Bahn's Dream. This work represents dreams with a slowly changing and developing soundscape.

Recording of YeeOn Lo's Duo concertant - le conte du troubadour. This work begins with a highly theatrical noisy environment. Throughout the piece the music transforms from layered, mobile imaginary to a soft, introspective soliloquy on the piano melding into a meditation about nature. The beginning plucked-string sound are derived from samples. All the other sounds, except the piano, are digitally synthesized.

Recording of Maggi Payne's Aeolian Confluence. In this work, distortion is utilized in many technical ways. This piece is a soundscape, which results from using electro-acoustic technique such as: real time mixing on the Ling seismographic filter, intermodulation distortion, heterodyning, and time delay.

Recording of Curtis Bahn's Darkness. This piece used traditional electronic technique to create a soundscape.

Recording of Darren Copeland's Night Camera. A night camera is an imaginary aid that like an infrared scanner allows one to probe regions lying beyond the common. Each musical scene appears inside a recording from the world from the world soundscape collection housed at Simon Fraser University. The listener's journey is a quest for worlds existing within the territory of the ordinary.

Recording of Jean-Louis Poliart's Les amants tragiques de Sarajevo. The composer was tragically inspired by the war in Sarajevo, specifically the banality in the news coverage of the "tragic lovers of Sarajevo". The composer describes this work as programmatic music with death creeping into the soundtrack along with warrior sounds and moments of sweetness, meditation, and ending with a funeral march.

Recording of Ann Scarlett Harris' Cloudscape. As the composer writes on this piece: The summer of 1993 was a particularly stormy one in our part of the world. As I set in the studio, manipulating sounds and seeking inspiration, I noticed how the clouds had many different textures, and were interlaid to form a cloudscape whose morphology was constantly changing. As different layers of cloud moved at varying rates, new textures would be revealed. This work is my interpretation of this multilayering effect. Using pitches and rich timbres, layers of material progress concurrently, and are interrupted by sudden gestures and attacks which cut material away to reveal new timbres underneath.

Recording of Vladan Radovanović's Mix II.

Recording of Vladan Radovanović's Ensemble.

Recording of Ragnar Grippe's Suspended choirs. The material is described by the composer as somewhat eclectic, with a deviation from a "pure" electro-acoustic sense, instead including several influences from many different styles. The compositional work started after some two months of programming of real-time control devices controlling filtering, reverb, chorus and pan functions. The resulting sounds were then used for the composition. The name of this piece is derived from the "gliding" choir-sounds, creating the illusion that these sounds are suspended. This piece is considered part of a triptych by the composer, alongside Grippe's compositions L'arbre égayé (1992) and Poemes d’un avenir passé (1990).

Recording of Jacek Grudzien's Tritones. Work for amplified harp and tape was inspired by Bulgakov's prose "Mastere and Margueritta".

Recording of Eric Cordier and Jean-Luc Guionnet's Chants Wers. It was created using traditional electronic techniques and processed sound.

Recording of Jonas Broberg's Buccharelli's Lamento. The piece was composed in December '92 and January '93 at E.M.S. in Stockholm. The sound material was generated on a Serge Modular analogue synthesizer. The work is based upon the idea of stopping for a moment in the bustle of everyday life, taking a break to find space for contemplation. Soon, however, distractions and shifting impressions from the opening of the composition reappear. Although the material was generated electronically, the spirit of the piece is closer to Musique Concréte. "Buccharelli's Lamento" was premiered at a concert of Swedish Electroacoustic music at Florida International University in February 1993.

Recording of Warren Burt's Piano sounds improvisation. This work is the third movement of "Three More Improvisations", for Buchla lighning, movement-to-MIDI converter, and computer sampling programs. The Buchla device allowed for movement of all small infrared sensors to produce midi control signals. Therefore, physical improvised movement is the foundation of this piece.

Recording of Jürgen Bräuninger and Ulrich Süsse's Le bass de auf a bourges du dat. It is a work for saxophone, bass clarinet, and electronics. There are speech snippets which are accompanied by free improv from the saxophone and clarinet, while processed and manipulated recording of these instruments play in the background.

Recording of Stanislav Kreitchy's Variations. This piece is for sythetizers, ANS, brass, and percussion.

Recording of Simon Hall's Transcending the body & soul... The name was inspired by the source materials of the piece: brass instruments, percussion, bodily sounds, and samples from American soul artists. The sounds sources are then treated and transformed acousmatically using a whole range of analogue and digital technique. The intention is to take the listener on a series of contrasting soundscapes and to create links to the present sound world.