Recording of Rune Lindblad's Party.

Recording of Pierre Boeswillwald's La promenade du dimanche. First encounter with the widest possible electroacoustic language. The shape and geometry of sounds fade away in favor of emotion, images and climates. Sunday, day of rest where we do nothing but the simulacrum of what we would like to do!

Recording of Pierre Boeswillwald's La Promenade du Dimanche.

Recording of Christian Clozier's Lettre à une demoiselle. This piece uses music written on a newspaper, a sheet, in an attic, in view of an open window on an impassive river, at a flowery table, around two o'clock in the morning, in a low voice, in memory of the companions of the Pleiad. There are three movements: draft, erasures, and post Scriptum. This work also uses sound samples and recorded sound to allow for the poem to reach full expression and character.

Recording of Christian Clozier's Marché calme et irrégulier.

Recording of Simon Jaunin's 6 pièces avec voix. For pre-recorded voice, percussion, and electronics. The composer writes: "An informal exchange between a reciter of considerable renown and not mentioned. The pieces revolve around the persistence of salient discursive elements in an unstable sound field. In addition, a strong tension is created between the mechanical aspect of development and freedom of tone."

Recording of Ivan Pequeño's Ahora.

Recording of Christian Clozier's Ca c'est ma petite fille. This is a work for electronics that includes French spoken word.

Recording of Ryszard Szeremeta's Celtic circles - II. This piece used synthesized sounds and speech to accompany each other.

Recording of Michel Longtin's Une Croix de bouleau au nord. A birch cross in the North Black sky, cold, winter, Indian in the rocky who just brought his wife to the cemetery, suicide.

Recording of Claude Jordan's Electro House.

Recording of René Cesar's Grafitti.

Recording of Jesús Torres' Himno a las lesbianas. This is an electroacoustic work that includes sound objects of the same type (news, voices, groans, etc.). These sounds create a collage that shows a distorted view of humor in a cumulative and destructive series. This series is linked to Schwitters' Dadaism, the notion of surrealist chance and the desire to dissolve the border between art and life. Overall, it represents the aesthetic of negation.

Recording of Jean Piche's Jus'givim. First movement of a work entitled "Mouvements Browniens". The piece is made up of spectral manipulations on a 23-second excerpt from John Oswald's Plunderphonics. This sample is itself a doctored reprint of a performance by American "soul" singer James Brown.

Recording of Lars Larsson's Opening a Can of Worms. The composer speaks of the process behind this piece as follows: Talking gibberish, stopping mid-sentence only to find I forgot what I was talking about, and saying obscure quotes to communicate are things I do a lot. The work "Opening a can of Worms" reflects this in various ways: a) regarding the sound, I tried to incorporate as many conflicting sounds as possible, something that nobody would normally use in this way musically; b) regarding the time factor, I wanted to create movement in the gestural clichés associated with electroacoustic music and instead leave the form of the work in its natural state (almost like automatic writing) and c) use the quotes with short snippets of old radio music, recordings, outside sounds, and myself for good measure, among other things. I also wanted to turn my back on most of musical history and continue making music the same way without being affected by it. Maybe it's an impossible task, but a good guy like me can try, can't he? Oh! the title? Well, I thought that would be a fitting title for my first official play - is it not?

Recording of Nicolae Brînduș' Ouvedennerode. For electronics, voice, and saxophone. This work is an instrumental theatre piece based on the poem by Ion Barbu. This recording is only the tape-music of the play and the verses of the poem translated in French.

Recording of Bernard Heidsieck's Passe-Partout n°4. This is a work for electronics that includes French spoken word and radio sound materials.

Recording of Jean-Louis Clot's Pensées du penseur-variation. This is a work based on various poems written by Jean-Pierre Chambon and uses a soprano and piano melody line. This work was made for 8-track tape.

Recording of Mike Shed's Retour à la raison. This work is for electronics and contains slowed down voice samples.

Recording of Christian Clozier's Les salades. This is a work for electronics that includes French spoken word.

Recording of José Iges Lebrancon's Seven minutes desert. This work explores the need to "measure everything" which is our way of exploring and experiencing the world around us. Although this piece has a fixed duration, the listener should try and listen presently without the fixed notion of waiting for an end. The elaboration of the random sequences help fit the sound characteristics of the voice.

Recording of Michal Kosut's Valérie. In this piece you will hear a narrated story of Valérie. There will be processed voice, pure sine tones, and electronically made sound. Within each transition heavily rhythmic sound segments phase in and out, while following the intensity of the story.

Recording of Takehisa Kosugi's Catchwave 71.

Recording of Dieter Kaufmann's Chanson.