Recording of Simo Lazarov's Singing more. The language of this composition is Bulgarian, with vocal audio recorded from the mountains surrounding the Bulgarian region of Sofia serving as the basic sound source of the composition. The composer's goals are to submerge the listener in an atmosphere of Bulgarian folklore, and to attain an associative effect by means of overdubbing and modification of original sound and songs, bearing in mind the wide variety and richness of the Bulgarian folklore and the immense attention it has gained abroad.

Recording of Augusto Valente's Dwamb.

Recording of Nye Parry's Grand Junction. Grand Junction uses recordings of steam pumping engines from the Kew Bridge Steam Museum in rhythmic interplay, exploring the contrast between recognizable and abstracted sound.

Recording of Jøran Rudi's Moment. This work is composed of synthetic and natural sound, transposed and stretched according to ratios taken from spectral data found in a bell-timbre. In addition, the voice element is treated to create time-variable harmonicity. The artifacts from the stretching have been brought forward in the composition through filtering. The synthetic sound consists of an algorithmically composed element, where a series of numbers control the same parameters in the synthesis. The algorithm scales the numbers to strengthen the low end of the register. The composer describes "Moment" as a slowly developing little piece, composed to be candy for the ear.

Recording of Franco Degrassi's Mostar.

Recording of Yee On Lo's Naissance.

Recording of Mattew Burtner's Incantation. This work is a soundscape made from synthetic sounds and electronically manipulated pre-recorded sound.

Recording of Daniel Bernstein's Golem. This work is for string quartet and electronics.

Recording of Manuel Rocha Iturbide's Transiciones de fase. This works is for brass quartet and computer. The intention of this composition is to explore the timbre possibilities of brass instruments, and to present in the piece different states of sound, as a natural element. The electronic sounds, were mixed beforehand, but there is live electronics (IRCAM next station). One part of the sounds processed in the studio were treated with a vocoder, using stretching and cross synthesis. The other sounds were created by analysis and re-synthesis of brass samples, using the IRCAM program or granular synthesis. In the DSP control parameters reverb with filtering, harmonizer, two spatialized delay patches, and random algorithms are used. All events are triggered by the performers with 4 midi pedals.

Recording of Eric Mulard's Le miroir à salade. In the manner of Russian dolls, the Salad Mirror plays around obsessive and ultimately comical interlockings between audio stories from everyday life, including the meaning and sound of the words that structure it, are intertwined. The Salad Mirror is this time of listening during which the sound and the meaning of situations and words are as if in a state of weightlessness, without it being known in the end which of the two is anticipating on the other.

Recording of Benjamin De La Fuente's Ce doux nectar fleurant le miel. This work was made using pre-recorded audio and with the utilization of electronic processing, the sound are transformed.

Recording of Michael Rosas Cobian's Rumbos. Etudes 94. Rumbos is translates to pathways in a ambiguous or mysterious manner. Three basic sound sources are used: a sample of a squash game, an attack of a cello col legno and a metal strike; and a single technical device: the Akai sampler. The feature of 8 point loop facility which is used extensively in this work.

Recording of Antonio Alcazar Aranda's Transformaciones. The work has four parts. In Cristaux et noix; timbre evolutions of the material occur along its duration. Lethanie has minimal changes between melodic cells and small dislocations rhythms, which bring slow transformation. In Ondes rigides. certain flows and reflux are presented through rhythmic compressions and expansions united to a gradual opening in the pitch field. Finally, Dilatation, is a very slow evolutionary model which, accommodates itself to an ever wider sound space.

Recording of David Prior's Struggle. This work uses electronics to change characteristics of pre-recorded sound fragments.

Recording of Michał Talma-Sutt's Shadows. This work uses recordings of brass instruments, wind instruments, inanimate objects, and electronics. Then by using traditional electro-acoustic technique, the stereo listening environments become very complex, by making sounds sound distant or close, and ever panning the sounds from left to right, then combing these two techniques to allow for sound to travel.

Recording of Yves Potvin's Liguits rom. This work is for voice and electronics.

Recording Ipke Starke's Hado. This piece mostly consists of three pre-recorded sound sources: water, fidgeting with small inanimate objects, and voice. The sounds begin transparent and virtually unprocessed, but with time being to change with the more processing.

Recording of Andrea Libretti's Dada. The piece develops according to a Dadaist reconstruction project of the recited text, previously analyzed and dismembered. The first part is only consonants, followed by only isolated and interpolated vowels. Subsequently, the development of the envelope of amplitude and frequency of the speech begins to take shape, to arrive through various degrees at the complete recitation of point 11 of the "Manifesto dadaista sull'amore debole e l'amore amaro " by Tristan Tzara. All the material used is from the sampling of the recitation of the text.

Recording of Rainer Bürk's Des ombres de la nuit. The composer went to the Frauenkirche in Esslingen together with organist Christoph Bossert to record sounds from the organ of the church. They treated the organ in many ways, the results mostly sounding dark and uncanny, just like the atmosphere of the environment. There was the clatter of the action and the pedals, the howling and whistling of the organ-pipes. The piece wants to re-create some of the eerie atmosphere in the dark, lonely and cold church.

Recording of Roderik De Man's Vision. This composition is based on themes from the work of the Frisian painter Boele Bregman. He started out with a figurative and poetical approach of painting, later develop an abstract style. These aspects of his work form the basis of the composition: the idealism at the beginning of his career (boy soprano); the terror of war and meaningless speeches of politicians; and the final resignation and consolation found in his work (aria for baritone).

Recording of Philippe Blanchard's Katastrophe. This work uses field recording of nature and animal sounds, voice, electronic and acoustic instruments, and pre-recorded sound. There is a big emphasis within musical transition, which at times is silence. The use of electronic technique also allows for musical space and sound travel.

Recording of Patrick Ascione's Suite blanche pour les temps nouveaux. THis work is for electronic and computer sound. This work uses electronic and heavily processed sound to create a dense musical texture, the sounds are delivered in fragments. When the sound texture changes in a quick sense bringing new sounds into the work, this work has both transparent and harsher sound providing sonic variety.

Recording of Adrian Moore Landscape / Perspective 1. This work is for electronics, created by using traditional electro-acoustic technique.

Recording of Wes Richard Wraggett's Symbology. This work is for electronics.