Recording of Alexandre Sanielevici's Marée arctique. Arctic Mare is an electroacoustic suite of short linked episodes, which pass through several differing sonic atmospheres. The processed sounds are mainly from various machines such as computers, hard drives, modems, and CD mechanisms. Many of the same sounds, as well as their variations, are reused in different contexts throughout the piece, thus contributing to the unification of the piece in a natural evolution.

Recording of John Richard's Discoverie of witchcraft. For electronics and pre-recorded sounds.

Recording of Peter Batchelor's Discourse. For electronics. This piece considers various levels of interaction (discourse) between its resonant and non-resonant source material. A number of different paths (courses) are followed in each section, ranging from the detailed exploration of a single sound-type to a broader investigation of the relationships between several. This discourse is purely musical; the anecdotal is latent, but direct images and meaning remain elusive, and even the whispered voice is incomprehensible throughout.

Recording of Till Lefranc's Vie. Musical representation of 7 specific moments of the day. These moment are tied to specific actions which correspond with given pitches. This sound is created on a synthesizer, the tone and timbre of which evoke the action it represents. The whole piece has a structure in the nuances of the given form.

Recording of Robert Andrew MacKay's Sea Pictures. Was inspired by the sea town atmosphere of Bangor. Many of the sounds in the piece were recorded on location, including seagulls and folk music. During this voyage through different soundscapes, identifiable sounds are transformed into the unfamiliar and vice versa. Transformations occur from one recognizable sound source to another. The piece can broadly by divided into five large scale sections, which can further be divided into smaller subsections.

Recording of Valentin Lazarov's Boou'97. The computerization of sound and its representation as music and timbre dramaturgy underlie this piece. From choral melodiousness to percussion resonance: all these are sound objects mirrored and re-synthesized in various sound directions.

Recording of Scott Adamson's A Scent of lilac drifts the bank of county 282. For electronics and electronic instruments.

Recording of Jo Thomas' African Violet. For electronics and pre-recorded audio.

Recording of Abel Horacio Rogantini's Misivas del silencio. For electronics.

Recording of Artem Vassiliev's The bells of infinity. The musical material of this piece is based on a juxtaposition of several prerecorded sounds including excerpts from Bela Bartok's Concerto for Orchestra, noises of the concert hall before the performance begins and a sound of whispering voice. These sounds have been transformed by using various studio techniques (time stretching, pitch shifting, equalization, dynamic compression, etc.). The expressive function of the bells remains constant throughout the piece in order to represent the idea of an infinite and continuous being.

Recording of Ludger Brümmer's Phrenos. The compositional idea of this piece deals with two sound types: instrumental and vocal sounds. The sounds where create by a set algorithm; each event then triggers two other events and so on. The resulting sound structure shows a repetitive character with an increasing amount of simultaneous events. The sounds are generated directly into a 4 channel format so that the spatial placement and movements are not the result of an additional mixing procedure. The synthesis algorithms also automatically apply sound effects, giving the sound a very realistic echo and reflection structure.

Recording of Randall Smith's The unmoved center. For electronics and pre-recorded sound. This piece constitutes an analogy that traces the path of its own construction. The title evokes this shapeless place where the possible seeks to materialize, and whose structure ultimately resides outside the limits of the individual. The focus is the interplay of forces presiding over the spiritual struggles that take place inside the body as it seeks its place between the manageable and the imaginable. It resides in a sphere of connected, discordant and harmonious sounds.

Recording John Young's Virtual. This work attempts to convey the idea of an illusory soundscape set in vibrant motion by the wind-an invisible source of energy for the "virtual" objects in the space. This idea extended out of fascination with the processes of making field recordings in the natural environment, using wind "noise" to take advantage of the very active stereo play it produces across a pair of microphones.

Recording of Karl Friedrick's NF970503 for xenakis. For electronics and virtual instruments.

Recording of Philip Samartzis' Hérimoncourt. Based on environmental recordings of the Peaugot Chateau and surrounding grounds, located in Herimoncourt, France. . The Peaugot Chateau is a large, wooden, acoustically dense building which has continually shifting moods and textures. The intention was to create a sonic narrative which captured the dense acoustic character of the estate with an emphasis on the granulation of many of the sounds I recorded there. The granulation technique enabled me to sonically replicate the creaking tones which permeate through every crevice of Herimoncourt.

Recording of Juan Amenabar's Cantiga en el umbral. For voice, pre-recorded instruments, and electronics.

Recording of Mathew Adkins' Silent red. This work was written as part of a multimedia performance. For three dancers, three video projections and electroacoustic sound. This work was inspired by the triptych paintings of Francis Bacon. The sound was created from recording of the dancers during improvisation sessions. This current version is a shortened concert version of the original dance presentation.

Recording of Petri Kuljuntausta's April fool. For electronics and pre-recorded sound.

Recording of Emmanuel Madan's Power that in me grows. For voice and electronics. This work uses a powerful spoken words and electronics to further enhance the sonic elements of this work.

Recording of Dieter Kaufmann's Paganihilismo. This name Paganihilismo is derived from this composition being made up of acousmatic variations on three fragments of the Sauret Cadenza from the first concerto for violin and orchestra by Niccolò Paganini, and this material being then played by 512 virtual violinists on 8 tracks in stereo. The violin parts of this recording were played by Elena Denisova. The composer speaks on Paganihilismo as such: A virtuoso piece of music from the 19th century, cut from its musical and social context is transported to the relationships of time and frequencies of today. Paganini had already experimented when he played the soloist part in D-major on a violin tuned a semitone higher while the score is notated in E-flat-major. In "Paganihilismo" it is no longer the orchestra which listens more or less mischievously to the cadence of the soloist - it is the violinist himself in a multiple cloning (up to 512 violinists) who rushes (by the means of dividing a large second or an octave into 8 similar distances or else by an increase/compression by 8) in an artistic madness from which he always returns without injury. In this sense it is a fight against …

Recording of David Kenneth Mason's Sys-Sax for six patches for solo synthophone.

Recording of Per Arvidsson-Bremmers' Drop !. This piece was commissioned by the Swedish National Institute of Public Health. The task was given to different artists to create a work that would shed light on HIV and AIDS.

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Recording of Nicolas Vérin's Vent du Sud.