Recording of Lars Gunnar Bodin's For Jon - Fragments of a time to come. The work is a dramatic cantata, with vocal sections for both chorus and soloists alternating with recitatives and instrumental interludes. It is based on a series of texts characterized by a kind of "surrealistic science fiction" testimony and reports about experience in other worlds, real or imaginary. The texts are never sung but are often melodically "coloured", "composed" with the aid of electronic means. The composition also includes a mixed chamber chorus of twelve singers and a soprano soloist.

Recording of Vladan Radovanović's Recorded. The attention in this piece is focused on the interaction of sound and semantic aspects of the word "recorded" and the sounds that accompany it. At times reversible elements oppose the irreversibility of the flow of the word.

Recording of Trevor Wishart's Red Bird. The resources available for its realization were-6 semi-professional TR (all stereo) (Revox A77s), a portable Nagra stereo TR, microphone recording equipment (but NO soundproofed recording facilities), and a 12-in, 4-out mixer. The only filters available during most of the period of composition were the EQ controls on the mixer. Specific source-sounds are chosen to solve specific problems in the realization in sound of the preconceived form scheme. In generating source-material, composed music and specially-constructed improvisation procedures are used, among other things. A special feature of the piece is the transformation of one sound into another (e.g. "Lis" to birdsong). The aesthetic of the composition demands that such transformations appear "natural" i.e. that they appear to be no more than recordings of strange real-world events. This places severe restrictions on the techniques, which may be used to archive such transformations. Most are done using a combination of performance and classical tape-techniques.

Recording of Joel Chadabe's Setting for spirituals.

Recording of Reynold Weidenaar's Sweet Jesus and the Honkies. Sounds were processed by multiple delay, equalization, echo chamber, overload distortion, phasing, expansion, flanging, cross-channel penning, tape scrape flutter, editing, variable speed, multiple generation, feedback, and tape delay echo. The recording machines used included one 4-track tape recorder and three 2-track tape recorders.

Recording of Martin Schwarzenlander's Unter dem Pflasterstein liegt der Strand. The music is interspersed with text about demonstrations in East Germany during the 1970s.