Recording of Gabriel Prokofiev's Punch me! Bite me!. This work expresses frustrated attempts to let out inner thoughts and feelings. The music reflects the punches and bites of restricted expression and the struggle to be understood.

Recording of Frank Ekeberg's ...des cantiques. This work is based on excerpts from the Song of Songs from the Old Testament. The reading of this text has been processed and acts as the main sound source for the composition. The music reflects the content of the text and seeks to expose sides of the human psyche during loss and desolation.

Recording of Eric La Casa's Chrysalithe. This work is comprised of various concrete sound materials that have been manipulated and assembled together to create a triptych. The composer has titled the three sections as: "L'inspir", "La traversée", and "L'expir". The composition represents a rebirth as well as the "everlasting motion of the self".

Recording of George Budd's Political science. This work is a contribution to the CD compilation "Turntable Solos", curated by Otomo Yoshihide. This was an international survey of the "state of the art" as practiced by a diverse group of artists using only turntables. This composer was chosen to represent Los Angeles.

Recording of Mario Verandi's Fréquences de Barcelone. This work is based on recordings made in Barcelona, comprising a wide range of environmental sounds from different locations. The composer's goal was to stage Barcelona's soundscape, to explore and unveil its dramatic potential through interconnected scenes and perspectives. This piece premiered at the Festival Musica in Strasbourg, France.

Recording of Claude Hermitte's Les pensées de la terre. This work consists of various concrete sounds as well as recordings of a piano. The composer references a ceremonial Navajo song and urges the listener to think about the text while listening to his piece. The text speaks on the beauty of the world and the connection of everyone to it.

Recording of Lutz Glandien's Fear of flying. This is a work for electronics that consists of plane sounds and spoken word.

Recording of Rose Dodd's excess pitch. This is a work for electronics.

Recording of Gérard Torres' A l'ouest, Monsieur Wayne. This is a work for electronics that includes excerpts of dialogue from various John Wayne movies.

Recording of Barry Truax's Pendlerdrom. This is a soundscape composition that recreates a commuter's trip home from the Central Train Station in Copenhagen and was made for eight digital soundtracks. This work is available on the Cambridge Street Records CD Islands and the SKRAEP double CD Pendler.

Recording of Paul Dolden's Twilight's Ritual Incantations. This is a work for electronics and was inspired by the concept of twilight, a time between states. He states the the piece stands as a metaphor for the time it was written, situated between millennia. This concept is reflected through the constantly changing density, tempo, and mood.

Recording of Grant Cho Covell's Handel variations. Handel Variations: Theme with twenty-five variations on the Sonatina in B-flat Major (G. 40) by George Frideric Handel (1997) for tape. Each with differing sonic characteristics and sound processing. Designed to be played from a CD, so that any number of variations in any order can be performed (in fact, the variations’ numbering scheme purposely thwarts a chronological order). In an ideal performance, the variations and the theme would be played in random order, but so that the following program notes are useful, a random order is already provided.

Recording of Juan Amenabar's Cantiga en el umbral. For voice, pre-recorded instruments, and electronics.

Recording of Per Arvidsson-Bremmers' Drop !. This piece was commissioned by the Swedish National Institute of Public Health. The task was given to different artists to create a work that would shed light on HIV and AIDS.

Recording of Cèsar Amiguet Puig's Dimers liquids.

Recording of Pekka Siren and Agnieszka Waligorska's Terra Incognita. Soundscapes from the Faeroe Islands. Terra Incognita is made for relaxation and listening of voices of the sea and the nature as it still can be heard on one of the least polluted Islands in the Western corner of Europe: The Faeroe-Islands. The composers spent a two-week period twice on the Islands in 1994 and 1995. During this time they travelled 800 km across this group of islands digitally recording the nature in all its forms and voices.

Recording of Elizabeth Anderson's L'éveil. This piece is the first in a cycle that explores the paradox of opposition in the sense of physical appearance as well as in the psychological reality of mankind. The piece concerns itself with the creation of the universe and its two poles. The idea of contrasts presented in the introduction are then developed on a larger scale throughout the rest of the piece.

Recording of René Uijlenhoet's Filamenti I. The title of this piece refers to the impossibility of creating a steady, sustaining sound on a harpsichord. This work attempts to work through the problematic characteristics of the harpsichord and in doing so the instrument will not be spared. The composition ends with the "tuning and testing" of a new prototype. This piece was written by order of the harpsichord players Annelie de Man and Thora Johansen, with financial support by the Fund for the Creation of Music.

Recording of Frank Corcoran's Sweeney's Vision. This work is an ecstatic sound vision and musical structure that was loosely inspired by the figure of the schizophrenic poet-outcast, Sweeney, from the Early Irish epic, Mad sweeney Buile Suibhne. The composer considers this work a four-movement "symphony" at the end of the 20th century. This work was commissioned by the Studio Akustische Kunst of WDR, Cologne and was first broadcast by WDR in 1997.