Recording of Lennart Westman's Aires Acondicionados. This is a work for solo-oboe and electronics that consists of recordings of one oboe d'amore and an English horn. This piece was commissioned by Jesper Harryson, a solo oboe player in the Royal Stockholm Philharmonic Orchestra.

Recording of Marcelo Ajubita's The Alban Berg Album. This is a work for electronics that includes train sounds and samples of violin.

Recording of Joris De Laet's Amour Sacré. This work was created as part of the open project under the theme "Les Maîtres Sonneurs" at the Synthèse festival. The foundation of the sound material in this piece are fragments from a recording of the song "Amour sacré de la patrie" sung by Jean Hotté. From these samples, choirs and amalgamations are formed with the transformed sounds.

Recording of Panayiotis Kokoras' Anechoic Pulse. Most of the sound material for this piece was recorded at the anechoic chamber at the University of York in England. The sound material, not easily recognizable most of the time, undergoes a simple transformation in terms of sound processing. The piece ends with a pulse drone created with tiny strokes of a metallic stick on a 19 inches timpani. This work is dedicated to the composer Sungji Hong.

Recording of Nikos Stavropoulos' Atropos. The title of this work references one of the Moirae (the Fates) and metaphorically indicates the acousmatic processes involved in the work's composition. While the title is not directly related to the content of the composition, it was chosen to reflect the processes and their relation to the materials. The recording included has a stereo version as well as individual tracks for 6 speakers.

Recording of Hector Parra i Esteve's L'aube Assaillie. This is a work for electroacoustics and cello. The composer has attempted to create a distinct/varied polyphonic language for strings which has been inspired by avant-garde physics, contemporary dance, and collaboration with the instrumentalists. This work was create in collaboration with the French choreographer, Frédéric Lescure.

Recording of Alessandro Grego's L'Aura. This is a work for electronics and piano. The composer has described it using an abstract story of someone trapped in darkness.

Recording of Claudio Parodi's Autres Miroirs. This work is a study about the relationship between processed recording of Tunisian reeds and natural recordings of the same instruments.

Recording of Andy Birtwistle's Bambo intervention. This piece explores the ideological space between the bamboo flute and the tape recorder as well as between Western desires and Eastern traditions. This piece is structured around binaural soundscape recordings made in rural Taiwan. These field recordings stress authenticity of performance and the importance of location.

Recording of Mario Verandi's Bellscape. This work was commissioned by the ZKM Institut für Musik und Akustik, Karlsruhe. This piece premiered as part of the European Bell Days Festival 2004. The composer's goal was to explore the spectral and morphological characteristics of bell sounds as well as their manipulation and transformation through the use of computer software. The sound material in this piece consists of bell recordings done by the composer as well as recordings of the Carillon at the Haus der Kulturen der Welt in Berlin.

Recording of Saur Etienne's Bords et débords, voyages autour de mon bureau. This is a composition that is meant to be used for theatre. The narrative of the play centers on the daydreams of a man stuck in the closed world of his office. The first part of the music for this composition was created by Stéphanos Vasiliadis who passed before completing the work.

Recording of Roxanne Turcotte's Bourdons enjoués. This is a work for bagpipes, bombard, and electronic sounds that was created as part of the open project at the Synthèse festival. This piece was inspired by George Sand as well as the turn of the 18th and 19th centuries. The composer describes it as "the resonances of ancient times [resonating] in modern times".

Recording of Jean Routhier's La bourrée du Comptable Chinois. The sounds used in this work consisted of a Chinese abacus, a Jew's harp, and a musical saw. Each of these materials were meant to represent instruments that create similar sounds. This piece is loosely inspired by the style of the tambourin, a popular dance within the region where George Sand lived.

Recording of Guillaume Pairel's Bruits de couloirs. This piece includes concrete sounds of tubular bells, sounds of cymbals spinning at full speed, and other sonic discoveries. The intermingling of these sounds create a "multi-colored journey".

Recording of Marcelo Ajubita's The Cemetery of Lucifer. This is a work for amplified string quartet, electric violin loops, and percussion. It represents the place of the living dead which the composer describes as "the culture officials of all governments".

Recording of Roberto Morales Manzana's Cenzontle. This is an interactive piece in a multiplatform environment, which incorporates music and movement gestures from an improviser. The gestures of the flautist are captured in real time via microphones and a set of sensors detecting proximity, acceleration, and switching. A computer program is then responsible for capturing the gestures and reacting to them in a similar way. This piece has also been created with a visual element in the form of a video.

Recording of Koji Kawai and Rui Ogawa's Chaosmos. This work includes the sounds of white noise and a Japanese traditional melody which wrap the sound image of Sisiodosi. These sounds are repeated and go through a process of self-organizing from chaos to order.

Recording of Bernard Donzel-Gargand's Chemin d'émois. This work explores the sounds of a journey made by a musician from the forests to plains. It includes the sounds of nature as well as electroacoustic sounds.

Recording of Janek Schaefer's Cold Storage. This is a work for electronics that includes a theme of machinery sounds. The recording includes 5 untitled movements.

Recording of Vitazoslav Kubicka's Concert for violoncello and Orchestra. This work is based on a dialogue between instrumental solo voice and electronics. It explores the different possibilities of expression on electroacoustic music and solo instrumentation.

Recording of Per Arvidsson Bremmers' Derivative four - The Lore of Posterity. This work was written for electronics.

Recording of Leif Brush's Earth-Star Songs. This work is considered a "stitching" of sounds and recordings taken from an array of the composer's analogue constructs and terrain instruments. These recordings have been paired with recordings produced by Jerry Chamkis' Kosmophone. The result is an inexhaustibly complex amalgamation of hard-edged terrestrial and tactile phenomena contrasted by cosmically sourced retro-futuristic synth interjections.

Recording of Karine Dumont's L'eau et le vent me racontent à l'oreille.... This work was inspired by Georges Sand's text in which the Master Ringers listen to what the water and the wind tell them. The composer poses the question of what the rain would say if it was given a voice and explores all the possibilities. The composer supposes that "they just grant us the right to listen and listen to their story".

Recording of Rudolf Pepucha's The End. This work uses only sound material derived from a cello and explores the area between pitch, timbre, and rhythm. The rhythmic and melodic structure of this piece is structured around the idea of death.