Recording of Grant Chu Covell's In Distress, In Disgrace or Three Entries to Form a Diary of Automatic Writing. This work was written for Kazumi Umeda and used sources from New Providence's 'Near Summit'. It's comprised of three movements that each contain manipulated sound segments.

Recording of Jens Hedman's Mix-up. This work consists of 500 sounds in 500 seconds and is made up of fragments from the composer's favorite music. The raw material comes from music that has shaped the composer's musical language, including pop, jazz, rock, classical, and modern pieces. These fragments have been manipulated so that they cannot be traced to the originals.

Recording of Dieter Kaufmann's Dialogue avec Wittgenstein. This work is built on fragments of philosophical text spoken in both French and German, as well as various musical segments by composers Beethoven, Brahms, Bruckner, and the composer himself. The work was produces at the ELAK Institute of the University of Vienna Music and had two premieres. The German version in Vienna (1999) and the French version in Bourges (1999).

Recording of Ipke Starke's Saturation. This work includes sound samples from political speeches and big band music.

Recording of Elizabeth Hoffman's Ribbons. This is a work for electronics.

Recording of Fernando D. Polonuer's Rotaciones. The sounds in this work were processed in order to be listened far or near the audience. The composer used this composition as a way to branch into more abstract sounds where he could focus more on each individual element.

Recording of André Ruschkowski's Boreas. This piece was composed as one part of a longer musical program originally created for the Susan Quinn Dance Company. The musical material consists of two levels: (1.) microphone-recorded sounds of everyday human activities, and (2.) musical material, which was produced with different means of electronic sound synthesis. The extensive electronic transformation of these items and their arrangement in larger musical units took place particularly on the basis of gesture criteria (i.e., the energetic process of human movement items, the rhythm of tension and relaxation, reflects itself directly in the musical structures and their combinations). The aim is to create by this means an electronic music, which is able to address the listener directly by this specific gesture or physical quality.

Recording of José Miguel Fernández's Attract. This work was composed in 1999 as part of a FONDART project of the Ministry of Education of the Chilean government, on the use of mathematical models (chaotic and stochastic) for musical composition and interaction with the computer. For this work, the composer used two chaotic models (torus and logistic map) for the clarinetist's score and random models (Brownian, 1/f and white noise) for the spatialization of the sound. The samples were made with Csound, Audiosculpt, Peak and Protools (for some editing). A pitch-to-MIDI converter triggers MIDI events on a proteusFX with a random beat. The computer keyboard triggers the samples as well as a Max sequence made with the torus model X n+1 = X n + Ksen Y n. The title for this composition is taken from the strange attractors which have recursive equations and fractals; it is also drawn from the attraction which produces some sounds in the unfolding of the work and in the interaction.

Recording of Gonzalo Biffarella's Tango. This work was commissioned by the WDR 3 of Cologne, Germany. This radiophonic piece was inspired by the origin of Tango and uses fragments from old songs as well as a lecture by Jorge Luis Borges about the topic. The text has been translated into German and French for segments of the work.

Recording of Alexander Gabryś' L'Ultima volta con decadenza. The composer describes this work as a "collage" made up of grains of music created the the last few decades by musicians close to his heart. One piece included in this recording is "The Rite of Spring" by Stravinsky. This recording is meant to highlight the end of a century and the start of a new one.

Recording of Paul Rudy's Degrees of separation "Grandchild of Tree". The composer's notes on this piece are as follows: The idea for a cactus and tape work came about when I heard a performance of John Cage's Child of Tree. I was immediately taken with the sound of the cactus in particular. Taken from its natural environment and placed in the confined and groomed existence of a pot, amplified with a contact microphone, the cactus took on a completely new and interesting character, however paradoxical. Without the amplification its subtle and poignant resonances go largely unnoticed. The relationship between natural objects and their unnatural extension is the metaphor which inspired Grandchild of Tree. I am deeply indebted to Nathan Davis for his amazing cactus technique and samples!

Recording of Yuanlin Chen's Couleur de Pékin. This is a work for electronics.

Recording of Rogelio Sosa's Maquinaria del Ansia. This composition is an attempt to translate into sound the sensations that are felt during a state of anxiety. The challenge was to create a musical discourse starting from a minimal number of elements, in this case only one recording of a stroke on a wood body was used. This sound, through transformation and manipulation, created all material for this piece.

Recording of Christian Calon's Time well (la fontaine du temps). This work was commissioned by Ina-GRM with the help of the CAC and premiered at the Maison de Radio France in 2002. This work belongs to both a radio work (z | s) and sound installation (Time Corridor) that act as projects centered on the question of time. This piece is meant to create awareness of time through listening and is segmented into 4 tracks.

Recording of Serge Bouc's Vocalises.

Recording of Mathew Adkins' Breaking. This work mixes electronic sounds with those of classic R&B music.

Recording of Lucien Goethals' Dendrofonies. This is a work for electronics.

Recording of Rudolf Ruzicka's Aranea. This composition was inspired by the comparison of the spider and the possibilities of the world wide web. The title is Latin for "cobweb" and gives tribute to this concept. The work attempts to express both the characteristics of a spider and the typical features of the modern era amplified by the Internet.

Recording of Paul Geladi's Den devenu. This work is meant to explore history as well as looking to the present and future. The composition itself consists of different layers inspired by musical themes from the 20th century, however all sounds have been synthesized to create historical reviews in a pedantic manner.

Recording of César Amiguet Puig's Kontinuum. This work was made for electronics.

Recording of Rubén Hinojosa Chapel's Scratch. This work is an homage to the scratch sound that accompanies many old songs when listening to vinyl discs, the composer considers this one of the staple sounds of the 20th century. This piece was chosen by the "Festival de Bourges 1999" and premiered in concert.

Recording of Octavian Nemescu's Secula Seculorum. The composer dedicates this piece to the end of the 20th century and the second Christian millennium. The sounds play off of intervals, mainly major and minor 3rds which contrast each other throughout the work.

Recording of Mickaël Olonne's Technofolie. This recording was produced with rhythm machines and computer.

Recording of Simo Lazarov's The winds of the Balk-an (The iron mountain). The composer compares this piece to the feeling of standing in front of a mountain and feeling the oppression of its grandeur.