Recording of David Keane's Signor Marconi, His Ayre. For radios, 2 signal processors, and digitally controlled mixer. This work was designed to be performed live, with the only sound sources being 4 radio channels live broadcasting. The result of the mixing (under MIDI) control by the program that serves as the score for the piece is broadcast live on yet a fifth radio channel. The object of the piece is the creation of a structure that promises a successful piece, regardless of the program content of the source radio channels.

Recording of Milos Betko's Personal relations. This piece is segmented into 9 parts by the composer: 1. just before, 2. micado of mammoths, 3. speech of birds, 4. celestial threats, 5. song 1, 6. up and down, 7. song 2: "How many times it sings...", 8. emotions, 9. trio. It's comprised of background noise, violin, voices of the composer's friends, etc. The piece seems to be a collection of sounds that the composer relates to his personal life and day to day.

Recording of Michael Heisch's Edison. This work was created by ​​recording the pops and hisses of various shellac records onto DAT.

Recording of Larry Austin's Djuro's Tree. Octophonic computer music. Djuro's Tree is centered around a family portrait of three generations. The story is set in a dynamically moving octophonic "family" tree of sound. The sounds of the tree's limbs creaking and rustling were taken from the BBC Sound Effects Library. The creaking limbs are a recording of a squeaking wooden chair. Software and hardware systems used in Birmingham included Sound Designer, SoundHack, Audiosculpt, Csound, and GRM Tools, on a Macintosh computer.

Recording of Etienne Saur's Sonnerie pour les mille à venir. This work was composed within the framework of the open work "Le troisième millennium" of the IMEB during the Synthse Festival of Bourges 2000.

Recording of Stelios Giannoulakis' The Maze. This is a work for electronics and concrete sounds. It includes various dialogue snippets from old movies.

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

Recording of Pierre Alexandre Tremblay's Binary. This is a work for electronics that includes concrete voice sounds.

Recording of Jeffrey Faustman's I consumer (concerto for car horn, television, and falling children). This work consists of three parts: 1. kleptomania - adagio, 2. pennies from heaven - allegro, and 3. human remains - andante. This work is for electronics and takes samples from various radio and television shows that highlight the overwhelming amount of consumerism presented in media.

Recording of Alicyn Warren's Path of Iron. This is a work for electronics and various concrete sound materials.

Recording of Katharine Norman's Five minute wonders. This work consists of 4 movements: 1. Anything from the minibar?, 2. Oranges and Lemons, 3. Something quite atrocious, and 4. You need a cab?. The composer describes this work as midway between music and documentary that celebrates the "wonder" of a particular time and place.

Recording of John Levack Drever's Soundings of Angel. This work presents and responds to three different readings of "Angel" a poem by Alice Oswald, which itself was inspired by paintings of angels by Cecil Collins and the gardens at Dartington Hall. The work was commissioned by the Institut National de l'Audiovisuel - Groupe de Recherches Musicales and premiered in the Salle Olivier Messiaen, Maison de Radio France, Paris.

Recording of Michael Ward-Bergeman's City to the Water. This work was inspired by a trip taken to Gloucester, Massachusetts by the composer and his wife. This journey was recorded and used as a foundation for this work. The composer separated the piece into 3 movements: 'The Train', 'The Walk', and 'The Water'.

Recording of Robert Dow's Litany. This work was composed to be performed as part of a concert of Scottish electroacoustic music curated by the composer at the Florida Electroacoustic festival. The composer wanted to explore "real" instrumental sounds and utilize them in both a traditional manner and also as a way to construct new sounds.

Recording of Mark Wingate's Ruckamuck. This is a work for electronics and various instrumental sounds.

Recording of Sten Hanson's Don't hesitate, do it right now. This work consists of 4 separate pieces: 'Che', 'The Glorious Desertion', 'Don't hesitate, do it right now', and 'Revolution'. This collection of pieces were inspired by the ADC (American Deserters Committee), a group of American soldiers that found sanctuary in Sweden after deserting the American army during the Vietnam war. The spoken text in this piece is sampled from a speech given by Che Guevara, a public figure who took part in Castro's revolution.

Recording of Leif Brush's Marsmoonsnatch. This work includes two movements: 'Marsmoonsnatch' and 'Marsmoonsnatch positioning'. The composer was inspired to create this work when hearing the plans of a Florida Professor to put a Mars moon in Earth's orbit. The composer compared this conceptual challenge to his own personal findings when it came to adjusting and learning new compositional techniques (most of which include nature and the environment).

Recording of Pekka Sirén and Agnieszka Waligórska's Chimera in Kosovo. This work represents the suffering of Kosovo refugees during wartime and utilizes radio mediums to further give the impression of the horrors and fears experienced by the victims. The piece uses radio voices and imaginary female cries as well as looped international newscaster voices.

Recording of Johannes S. Sistermanns' Just and thongs. For two voices, house, sink, shower, radio, tv, train, Robert Fripp, keyboard, and telephone signal.

Recording of Grant Chu Covell's Continuous improvement. To the inexperienced eye, the perception of motion and activity often implies progress. When visiting new places which are full of activity, especially factories or places where things are being made, it is common to feel a certain excitement, and, because it’s not yet possible to discern what was going on, it’s easy to be convinced that wonderful things are occurring. But familiarity breeds contempt, as the saying goes, and as the new place becomes no longer new, it becomes easier to tell when people are just standing around looking busy or when they are in fact being productive. Continuous Improvement is a celebration of that initial feeling of motion, activity and progress, but it’s possible after repeated hearings to lose that first impression and realize that Continuous Improvement is actually a misnomer and in fact nothing is occurring at all. The composer notes having always been enthralled by manufacturing sites: the big machines, the large contained spaces and the wonderful sounds big machines make within large spaces. There is nothing quite like the sounds of machines: often before we understand what a machine does, or even learn its name, we become acquainted …

Recording of Richard Dudas' Interlude I from stories to read to your lover.

Recording of Christopher Penrose's American Jingo.

Recording of Lennart Westman's Sweden. The music of Sweden was composed already in 1997. However, in 1999 the collaboration with the visual artist Gunnar Jutelius was set about which resulted in the intermedial work Sweden is today. It has been performed in the autumn of 1999 at Café Umbra and Fylkingen in Stockholm, Sweden.

Recording of Simon Hall's Jazzthing. Jazzthing attempts to fuse some of the elements of jazz - the rhythmic vitality, the instrumentation, the freer forms of contemporary jazz music - with more abstract soundworlds and developed, highly processed material from the electroacoustic genre. The piece integrates sound objects with clearly identifiable extrinsic links with those that essentially transcend this, as well as, in time-honored jazz tradition, featuring quotations - both musical and vocal, obvious and occluded. During its course, Jazzthing moves from fast-moving, exhilarating textures to reflective, pensive soundworlds to pulsed, driving, rhythms. The sources for this piece, including the musical quotes and a couple of the spoken quotes, were performed by the composer and a number of their musician colleagues who kindly allowed the composer to "pinch" bits of their performances following recording sessions produced for release elsewhere. A couple of the vocal quotes and smallest sound objects come from jazz LPs and sample CDs. Much material has undergone significant transformation, notably by techniques of time manipulation and the cross-synthesis of sounds. Musical quotes include material from Weather Report's Birdland, Herbie Hancock's Cantaloupe Island, and Bob James' Theme from Taxi.