Recording of Jürgen Bräuninger's Tans-Trypticon.

Recording of Elżbieta Sikora's The waste land, for fixed media. The piece is a journey through time and spaces. The present is mixed with the past, the ordinary with the extraordinary, dream with reality. The work was commissioned by the Experimental Studio of Polish Radio and was realized in October 1979. The text comes from T. Elliot's poem "The Waste Land."

Recording of Max E. Keller's Hymnen ("Hymns"). This is the Radio Version of the piece which was broadcasted in 1979. This piece confronts the authentic account of a Chilean's experience of torture by the Chilean fascists by means of a collage of national anthems. Hymns and anthems from countries that directly supported the fascist coup (or indirectly benefited from it) are used as base material. At first, only fragments of hymns are presented, then they are processed as a whole, and finally they are put together into a new anthem. This demonstrates their interchangeability in their music and lyrics (therefore, they are used without text). The idealistic glorifications tilt in the face of reality in stark mockery. This is further articulated by the fact that between the individual texts of the collage, the Chilean hymn sings and unprocessed re-sounds. The chivalric song of the French Revolution is the cipher and historical source of all the promises of freedom, equality and fraternity that the hymns give, but history has not fulfilled to this day.

Recording of Eugeniusz Rudnik's Moulin Diabolique" ("Devilish Mill"). The work consists of six sequence that have their own dramatic, musical, and architectural meaning independent of the piece as a whole. The piece is based on military orders in different languages, as well as the sounds emitted by human groups (soldiers), which constitute the answer itself or accompany the answer that is required. The composer processes the sounds of the orders to deepen the grotesque and lugubrious character that these orders contain.

Recording of Klaus Röder's Mr Frankenstein's Babies for tape. The sound material consists only of voice sounds recorded by Röder himself. The sounds were worked out in an envelope shape and then copies upon the other so that there was a "chorus" sound.