Recording of Yves Daoust's Impromptu 2. This is a work for electronics that includes piano and keyboard instrumentation.

Recording of Roger Doyle's Under the Green time. This work was commissioned by Distant Relations exhibition with funds provided by the Arts Council / An Chomhairle Ealaion. This is an electronic work for tape, flute, and Uilleann pipes.

Recording of Frances White's Lesser celandines. The composer describes this work as a tiny, quiet concerto and says it's written in the same style as his previous Winter aconites. The composer dedicates this piece to the memory of his parents, Francis and Marion Josephine White.

Recording of Rudolf Ruzicka's Posonensia. This work was created to honor the capitol of contemporary Slovak Republic and the composer's friends in Bratislava. The title of the piece was derived from the oldest Slavonic name of the present-day Bratislava castle and surroundings: Poson. The composition was created with the technical cooperation of Juraj Duris and Richard Sabo.

Recording of Javier Alvarez's Overture. This work was commissioned by the Skinskateberg Electronic Music Festival. The composer used a combination of familiar Swedish and Mexican sound elements, which includes samples from a Mariachi band and a 1956 Volvo coupe.

Recording of Unsuk Chin's Para Metra string. For double bass and electronics. This work uses electronic processing to explore the sound alteration possibilities.

Recording of Nicolay Apollyon's Bass Organics. For electronics, processed violin, processed double bass, and live electronics.

Recording of Octavian Nemescu's Danielpentabsorbor. This piece was written for saxophone and tape. The composer describes the piece as a continual cycle of "filling" and "diluting" until the end of the piece when archetypal musical structures return. This work is dedicated to the French saxophonist Daniel Kentzy.

Recording of Edson Zampronha's Modelagem V. All sounds have completely or partially the same characteristics, even with coming from different sources (synthesis, C-Sound, voice, fried eggs, metal and skin percussion instruments, noise from the proper sound system, knife sharpening, toilet flush, respiration and some others). At the same time, the whole composition has collective auto-similarity and takes the perceptual dimension and the inner grammar as the basis of the language and of the qualitative states of transformations.

Recording of Catalina Peralta's Recitativo II. This work consists of the acoustical sounds of an Indian Sitar and violin. The composer describes the piece as an exchange between the different instrumental characters of a double stringbody. These characters act as the motives throughout the work as well.

Recording of Gary Berger's Transition. Transition is an attempt to create relationships between simple and complex sounds, and also to produce tensions between static and rhythmic events which transform into a continuum. Transition is meant to be the expression of inner intensity and change. This composition was a commission on the occasion of the 10th anniversary of the Swiss Center for Computer Music (Schweizerisches Zentrum für Computermusik). It was realized between October and December 1995 at the studios of the Swiss Center of Computer Music.

Recording of Rodrigo Cicchelli Velloso's 15° harmonico. For harmonica, piano, and tape. This piece develops a series of variations of the initial piano sequence. Most of the sounds in the electronic part are taken from the samples of the piano itself, but a flute and various percussion instruments have also been used. These sounds have been reworked using different filtering techniques, to impose a harmonic relationship commonality between instrumental and electronic writing.

Recording of Nye Parry's Winter.

Recording of Johannes Schmidt-Sistermanns' Auf Blau Zugehen.

Recording of John Rimmer's Pacific Soundscapes with Dancing. "Pacific Soundscapes with Dancing" was composed in 1995 at the Computer Music facility, Centre for the Arts, Simon Fraser University, Vancouver. The work is based on computer transformations of environmental sounds derived from the following: sea with cicadas and stream, bell birds and parrots recorded on Little Barrier Island (Hauturu) and volcanic activity on White Island (Whakaari) including ominous sounds from a vent in the side of the main crater and delicate bubbling sulfur streams. The dancing referred to in the title is an electronic image of boisterous Pacific drumming ensembles and is derived from a tiny fragment of the opening of the composer's "Composition 4 for Flute and Electronic Sounds." These sounds are extended beyond their environmental settings by granulation and time stretching.

Recording of Michael Ward-Bergeman's Face on Mars. "Face On Mars" is the composer's first CSound piece. It was inspired by the research of Richard Hoagland. In his book, The Monuments of Mars - A City On The Edge Of Forever, he presents conclusive evidence of a former advanced civilization on Mars. The evidence is based on pictures taken from probes sent up to Mars in the 1970s. These pictures reveal artificial structures that communicate redundant mathematical formulas through their alignment on the Martian surface. These mathematical formulas point the way to a "new" untapped energy source available in the universe. Unfortunately, there is much debate regarding the accuracy of Hoagland's findings. To complicate things further, since the mid 80's every probe sent to Mars either by Russia (Phobos) or the United States (Mars Observer) has been lost. The composer notes that they are frustrated by the fact that it was possible to send probes out of our solar system and land people on the moon in the 70's, but in the 1990's, it wasn't possible to even get a probe to Mars. New pictures focused on this area of Mars would silence the critics of Hoagland's theories and reveal a …

Recording of Gordon Fitzell's Inoculation.

Recording of Katharina Klement's Brandung II. 2-channel electroacoustic composition. The base for both pieces is a sonett by F.G. Lorca. Brandung I relates to the first stanza, Brandung II to the second. The connection of music and poetry is associated and not taken in a programmatic way.

Recording of Ugo Merlone's Lossodromica. This work was composed by mapping a three-dimensional dynamical system in sound parameters. A collection of several trajectories is assembled an monotonically combined. All the trajectories can be described as linear maps with a point that has at the same time both expanding and contracting directions.

Recording of Frederick L. Malouf's Between the lines. The composer's focus is the combination of three elements – improvisation, electronic sounds, and the fusion of different styles. It is in this spirit that this piece is presented. The technology used in this piece was a Macintosh with Max software (A Graphical Programming Language for MIDI). The sound device is a Kurzweil K2000. The composer was playing a Midi guitar controller. Accompanying are the sounds of the electric cello.

Recording of Jeffrey Hass' Keyed up. For two amplified pianos and digital sound; consisting of three movements. Gadget's tape portion of the movement uses a wide range of modified piano sounds, as well as other timbres suggestive of the subject. Early reflections for two pianos refers to the first sound waves that bounce back from a wall. Loose canons pays homage to the great two-piano composers of the past, including Rachmaninov and Bartok.

Recording of Roger Doyle's Spirit levels. The composer describes the spirit levels as being impossible dreamplaces in an imaginary building inhabited by ghosts, memories and echoes of peoples' lives. In numbers I, II and IV the material is nearly all sequenced using complex samples (e.g. number II is made up almost entirely from clarinet samples). Number III is a mixture of sequencing and granular synthesis and the voice treatment in number I is phase vocoding on a next cube. III runs into IV without a break.

Recording of Vladimir Djambazov's Piano computrato. For Atari STFM and Roland Sound modules. Composed first as computer piece, Piano Computrato transfers the traditional techniques of the prepared piano (Cage) to the digital environment. There, all sound parameters can be processed independently and many additional parameters can be controlled: filter, discrete pitch, sound envelope, panning, effects etc. The composition uses 16 MIDI channels and most of the sounds, including the ones that do not sound very "pianistic" were derived from sampled piano sounds by means of various modulation processes.

Recording of Fabio Cifariello Ciardi's Games. For contrabass and electronics. Looking at sound events in terms of mental images might be useful to grasp a part of the listener knowledge that might stand out clearly during the listening process, even without being directly related with musical parameters. In "Games," I used sounds to explore the abstract concept of game. "Games" is based on sonic organisms that dwell different virtual spaces. The listener is intended as the main player of a metaphorical and surrealistic audio game.