Recording of Gerald Siclovan's Bone. Text: "Cacophany" by Marc Christensen, read by the author and Mary M. Miller. Language cut to the bone: the piece begins with an isolated phoneme compressed and looped into a synthesizer-like texture, which gradually expands until it is transformed into the first word of the text. All sounds up to the end of the second stanza are manipulations of the human voice. Language conflated with non-language: the human voice as both means of communication and as instrument of incoherence. Language abandoned and superseded by the din of the world: voices embedded in desultory noise, failing to convey meaning; voices of birds and dogs which, though unpenetrated by human comprehension, at least remain recognizably articulated; voices of insects, which are not even articulated (at least to human perception); and voices of machines, inhabitants of a menacing wonderland, matter devoid of spirt. Among the noises heard in this piece: motorcycles, automobiles, ice cream trucks, the air brake of a school bus, a gasoline-powered generator; an especially obnoxious car alarm; radio junk emanating from automobiles and homes; firecrackers and fireworks; birds, dogs, crickets and cicadas; and of course the omnipresent hiss and rumble of the dystopic industrial world, …

Recording of Christopher Brady's Everything's been happening.

Recording of Eric Lyon's Butter.

Recording of Joseph Hyde's Songlines. The work is divided into 3 movements: 1. Lost for words, 2. Sound objects, and 3. Marine movement, Movements 2 and 3 are continuous. The "Songlines" are ancient paths crossing the Australian landscape. The landscape in this case is then a long set of texts ranging from Inuit myths to Edgar A. Poe. The synthetic sounds act as if they are traveling and with direction, while also finding new directions and new sounds.

Recording of Jonas Broberg's Locations. This work is for electronics and voice. The underlying idea concerns places and life situations one lingers over, and how one copes with the realization of where one is in life. Life situations are not always of our own choosing, and sometimes when we suddenly perceive where we are the experience can be both dazing and terrifying. The characteristics of the electronics conveys this kind of perception and expression, viatext fragments spoken by a female voice.

Recording of Francesco Giomi's That's all folks! This work was composed using solely sounds from TV recordings of American cartoons: focusing on excerpts from Warner's and MGM's cartoons from the forties to the sixties. The samples were both without processing or went through a series of electronic processing such as: Time editing, pitch transposition, filtering, and time stretching. The piece has two main criteria: keeping some ironic aspects of the cartoons, and build a independent musical narrative.

Recording of Christopher Brady's Vietnam. This work is a tone poem and is meant to be a political statement on the psychological effects and aftermath of war, specifically using the Vietnam War. There are speech segments reflecting on past experiences of war and complex dissonant harmonies conveying certain feelings and emotions.

Recording of Takehito Shimazu's Illusions II in desolate fields for Upic. The inspiration for this piece is from a short poem (translated in English) sung by a poet from 200 years ago. The composer operates the the sounds as stimuli psychologically and physiologically. The music changes from ratios 3:2 and 7:5; changing with the rhythm of its syllables of the poem in original language. One more important point of this piece is that it was planed to play UPIC in real time, in other words this piece can be realized with a live performance with UPIC and, in fact, therefore, this piece might be said to be "one sample of a performance".

Recording of Jorge Luis Sad's Vox II. The composer used some sound from a former piece "VOX". The basic intention of this piece was continuing the exploration of sound materials and gestures of ethnic and "art" music. The sounds are present in small fragmental groups. Samples were taken from rock singers (Robert Plant and Peter Gabriel) percussion instruments from Bali and then processed using music software developed at CCRMA (SMS and CLM) on a NeXt Computer, and an AI Korg processor.

Recording of Trevor Wishart's Blue Tulips. This work is built on a recording of an old woman's voice and is more like a documentary in style. The story recounted provides all the material for the piece, which becomes a short study in sonic transformation and variation.

Recording of Agnieszka Waligorska's 6th day. This work is for electronics, voice, pre-recorded manipluated sound, and saxophone.