Recording of Manuel Rocha Iturbide's SL-9. For digital tape. Sl-9 is named after the comet that hit Jupiter in 1994. This piece was made with granular synthesis techniques, with Barry Truax's granular synthesis system (The DSP DMX-1000 controlled by a PDP Micro 11). The samples used for the time granulation were popping sounds of fire, drops of water, and the ocean. The idea was to make a programmatic piece where a comet hits a planet, and brings to it water, an element which will probably bring life to it.

Recording of Maria Cristina De Amicis' Aura. This work explores the sonic possibilities of processed percussion and electronics.

Recording of George Skip Brunner's Women in black. For electronics, manipulated voice, and violin.

Recording of Tamas Ungvary's Grattis with epilog. The swedish word "grattis" (congratulations) with its two different vowels and four different consonants piqued the composer's imagination. The composer's recorded and digitalized voice serves as the source material for the first part of the piece. Using various, mostly self-designed, real-time programs which were controlled with a three-dimensional touch-sensitive input device called a Sentograph. In addition, the composer I developed two programs, one which generated sound (GLIDE) and another which manipulated sampled sound (S-GLIDE).

Recording of Tamas Ungvary's Nine Fingerprints. In these impromptus the border between the church organ and computer music domains seems to fade. These pieces were edited out of several spontaneous recording sessions. During those recording sessions, a Sentograph controlled IGMA parameters, the remaining three outputs of the second FingerprintR were used to change the Overtones, Brightness and Articulation parameters. These organ instrument spaces were implemented on the SY99, using waveshaping, FM and complex waveform additive synthesis.

Recording of Simo Lazarov's A little breath symphony. This work is made of breath sound sources and electronics. Made up of 5 differing movements; 1. Highly, Highly - Higher and Higher: 2. Deeply, Deeply - Deeper and deeper: 3. Going up - Levitation: 4. High & Deep - Scerzo-High & Low: 5. Up & Down - Allegro - Up & Down.

Recording of Hiroki Takeishi's Les cellules.

Recording of Alain Basso's Acetone. It was created essentially from sounds representative of landscapes and festivities in Haute-Savoie, this piece explores the limits of the possibilities of sound mutation. The idea is to exaggerate certain acoustic characteristics, to better control the expressiveness of these sound objects, but without losing their original nature. Thus, the listener is projected into a lyrical world, while measuring the gap that separates him from real sources that can often be identified.

Recording of Warren Burt's 7 excerpts from "visual haïku". "Visual Haiku" was a set of 16 computer pieces made for Robert Randall's "Visual Haiku" project in 1994. All the music was made on various computer systems using software such as Band-in-a-Box, Sound Globs, M, Cool Edit and so on. Each of the "Visual Haiku" used algorithmic processes to assemble music which loudly and proudly proclaimed bad taste and slavish obeisance to commercial musical models, in keeping with the neo-Warholian aesthetic of Randall's work. "Visual Haiku" appear on the 2 CD set "Randelli's Selection" - on Scarlet Aardvark CD No. 47 A and B, available from www.warrenburt.com.

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 Annette Vande Gorne's Le Ginkgo. This electroacoustic composition is a narrated work with a significant amount of low voice audio in French. It is described and expanded upon in the following words (translated from original French text): A man walks to meet himself...: From the secure and unequivocal void of eternity without future to the proliferation of passionate, ephemeral life, with an uncertain future, except that its swirling column will m 'carries irresistibly towards a love'. The Poet takes us on an inner journey, that of a lifetime, in which each of us can situate ourselves, recognize ourselves, identify with the narrator. Narrative, linear and structured, seems to be an ideal form for this progression of being. I therefore extracted from the original short story the key phrases of each stage of the journey, and took, in order to preserve its linear character, the party of simple reading, monotone at the beginning and going by becoming animated. The musical form is derived from the words and the structure of the text along three axes: That of time which, long non-existent, fixed, outside of man, gives itself a "hic et nunc", then a past and a future, and accelerates, …

Recording of Thomas Gerwin's Klangkorper. "Klangkorper" (Corps sonore) was composed for Japanese dancer Joshiko Kiriyama for the premiere in Tokyo at Sound Electro Media Festival 1995. The sounds the solo dancer created live on stage were recorded with bird mics and remixed to the tape part, which was played simultaneously. The tape part was treated as material as well, was stopped, rewound, and played again in alignment with the stage show. The whole piece took about 20 minutes at the first performance.

Recording of Vladan Radovanović's Constellations I.

Recording of Janine Elliot’s Pattems of nature.

Recording of Elio Martusciello's Proiezioni. This work is described by the composer as a musical tribute to cinema; it is an integral part of an audiovisual project with the film and video research collective "Cane Capovolto" by A. Aiello. This project uses as sole sound and visual source only those instruments and objects (projectors, cameras, reels, etc.) which are related to Cinematographic Art. Concerning the musical part, these old instruments (with their noisy metallic mechanisms and the light sound of long films) offer the composer a rich palette of colors and evocative sonorities.

Recording of John Kefala-Kerr's Martian karaoké. This composition is a conglomeration of styles, especially utilizing different types of drumset beats and styles to accentuate other aspects of the composition.

Recording of Ragnar Grippe's Le mécanicien effréné. Voices are explicitly mentioned by the composer as acting as instruments; no language is intended or represented in this performance. This piece follows the composer's "symphonic" approach to timbre and construction of sound, wherein every sound is a composite of several included timbres, in a way that the composer identifies as being specifically contrary to the technique known as Musique Concrète of Groupe de Recherches Musicales in Paris. Through this approach, short moments of a more musique concrète character interrupt the ongoing flow of the composition; furthermore, the composer states the explicit nature of voice as instrument, removal from semantics, and a fascination with the "nakedness" of voices alongside their behaviors and interactions when set upon a texture of electroacoustic sounds.

Recording of Peter Manning's The ghost of Eriboll. This programmatic work is a commentary on our natural environment and the urgent need to preserve the increasingly fragile ecology of so many hitherto unspoilt regions for the benefit of future generations. Loch Eriboll is to be found on the north coast of Scotland, creating an inlet which cuts deep into the countryside of Sutherland, an area of outstanding natural beauty, characterised by rich fishing grounds, rising mountains and tracts of wild moor land, from which and upon which small groups of fishermen and crofters have sought to maintain an existence in circumstances which have often been harsh and inhospitable. As the years have gone by so this way of life has come under threat with increasing industrialisation around the coast from the east, for example the nuclear power station built at Dounreay and numerous installations to support the North Sea oil industry. This piece is a soundscape, which reflects upon the survival of these communities down the ages and the uncertainty, which faces those who remain. All the source material is drawn from the archives of the World Soundscape Project at Simon Fraser University, British Columbia. The transformations of these aural …

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

Recording of Simon Hall's Fiestudy. Fiestudy was composed for two reasons - one practical, one musical. In 1992, the composer bought a 12-year-old Ford Fiesta. The car itself was cheap, but over the course of the next 18 months, it cost the composer thousands of pounds in repairs and towing bills. Simon Hall then became determined to reap some reward for the large, apparently worthless financial investment, and the opportunity of utilizing some of the strange noises this condemned vehicle made seemed to be a good one. A recording session under the bonnet and a whole host of aural possibilities suddenly became apparent. The composer's second reason for the composition of this piece was my intention of putting together a musical argument between two contrasting types of material: persistent, driving rhythmic ideas; and material that existed for its texture - its sonic content. There is, inevitably, a degree of overlap between these two types of material, classification of materials as "rhythm based" or "texture based" often being deliberately ambiguous - the textures grow from the rhythms and vice-versa.

Recording of Mike Vaughan's Mélodie.

Recording of Simo Lazarov's Deeply, deeply.

Recording of Eric Lyon's Butter.

Recording of Ton Bruynel's Brouillard.