Recording of Paolo Besagno's E...tu come saresti?. This is a work for electronics and is dedicated to fathers.

Recording of Lennart Westman's Le père perdu. The composer describes this work as "an electroacoustic piece manifesting societies' recognition of the symbiosis child and mother while oppressing fathers' and childrens' right to each other".

Recording of Philippe Moënne Loccoz's La mère, le matin etc.... This work was created as part of the Institute of Bourges on the theme: "Le Pére, La Mére". It includes sound materials from family interactions, primarily children.

Recording of Juan Sorrentino's The Fifth Element. The sounds in this work were created using several materials: wood, metal, glass, plastic, and various violin recordings. The composer intended to explore the interactions of these sounds with one another and how it relates to the coexistence of things, materials, lives, and cultures.

Recording of Marco Dibeltulu's Improvviso. The sound material in this work comes from a sample of piano that has been played in different ways. The composer attempted to create a piece that encapsulated the feeling of responsibility held by new parents.

Recording of Cesary Durchnowski's "Monada 3". Based off of a cycle of monads, the composition reaches for new qualities in music. Instrumentation includes voice, piano, and computer. This composition was composed in 2003 in the Experimental Studio of Polish Radio in Warsaw, the Computer-Aided Composition Studio of the Music Academy in Wroclaw and in the composer's own studio. The final recording was produced in April 2004 in the Experimental Studio of Polish Radio in Warsaw.

Recording of Antonio Ferreira's "Evidence of Things Unseen". Computer music, the composition uses dramatic gestures, pitch distraction tactics and virtual space. It was produced at composer's studio in 2003.

Recording of João Pedro Oliveira's "Litania". This work is inspired by and uses features of Litiania prayer, which includes the same phrase being repeated over and over without interruption. Saxophone, guitar, and electronics are featured.

Recording of Luigi Ceccarelli's Dall'alto. This is an electroacoustic work that includes Italian spoken word that describes the act of floating above the world in observation of the land and sea below.

Recording of Enrico Cocco's Le antichissime e libere figurazioni. This is a work for electroacoustic sound and includes various vocalizations that have been manipulated.

Recording of Fabrizio Casti's Trasparenze impossibili. This is a work for piano and magnetic tape that utilizes both silences and various levels of sound to create "disordered constellations which convey meaning".

Recording of Maria Cristina De Amicis' Estremi. This is a work for electronics that includes various vocalizations and a female singing voice.

Recording of Michal Pawelek's Flowing. This is a work for electronics that includes 8 tracks for separate speakers as well as a stereo version. The entire work is based on choral sounds both real and synthetic, however the synthetic sounds have been made to preserve choral character. At the same time, original samples have been slightly modified to unify the whole piece.

Recording of Jakub Ciupinski's Makyo II. This is a work for electronics that revolves around the concept of hallucinations, visuals, and sounds that appear at a certain moment and distort Zen meditation. The name of the piece separates into 'ma' which means devil and 'kyo' which means "real" world.

Recording of Annette Vande Gorne's Ce qu'a vu le vent d'Est. This is an electroacoustic work for stereophonic or octophonic space. This piece is dedicated to Debussy in which the composer has found similarities between Debussy's compositional style and that of electroacoustics. This work was commissioned by the Cagliari Acousmatic Festival.

Recording of Silvia Lanzalone's Improvvisi Elettrici (for midi guitar and computer in real time). This work is an electronic improvisation by two performers who control two real-time sound processing algorithms. The sound sources in this piece come from electric guitar and computer. A sensor applied to the electric guitar transforms the vibration of the plucked strings into MIDI values.

Recording of Adolfo Núñez's Water Boulder Music. This work takes the primary sound source of water and heavily processes it. In the sound transformations the composer follows his erratic improvisation rather than a predetermined method. In this work, the composer was able to relax and play with sound in order to get many new materials.

Recording of Takayuki Rai's Facade. This is an electronic work for guitar and computer. The live computer system samples the sound of the guitar, performs digital signal processing on it, and reproduces the transformed guitar sound in the hall in real time. In this piece, the acoustic facade is being created in the time domain with guitar and computer transformed guitar sound. This work premiered as an interactive multimedia computer piece at the SonicArt in Tokyo.

Recording of Benjamin Wilson's Sediment. The majority of the sound sources for this work come from rock, sand, dirt, gravel, etc. The presence of non-geological sounds could refer to historical or archeological discoveries. The listener encounters blurred remnants of complex events that reveal little information to the average person. The composer used layering as a key role in this piece, establishing a journey to either the the ends or the center of the Earth.

Recording of Hugo Druetta's Siguiente proximo. This is an electroacoustic composition for 2-channel tape and was premiered at the 2003 Synthése Festival. The title, which roughly translates to "following next", describes the character of the piece. This piece is divided into four sections, the first three presenting different characteristics while the fourth is a recapitulation. The composer states that the raw materials came from the Kurzweil K-2000 sampler, however, there are instrumental sounds.

Recording of Bradley Decker's Montage. This is a work for electronics.

Recording of Manuel Rocha Iturbide’s Boom Box Project. Inspired by the composer's interest in playing music on boom boxes, this project involves recording various soundscapes that involve electronic music. There are 17 recordings of different locations.

Recording of Fabio Cifariello Ciardi's "Limens Limine." This work is a 4+1 channel piece, with 4 of the channels playing on speakers off the stage and 1 channel played on a loudspeaker on center stage. Composer utilizes pre-recorded voices, percussion, found sounds, and electronics. Premiered in Montreal.

Recording of Maurizio Martusciello's Exceptio 07. This piece utilizes electroacoustic material and electronics.