Recording of Nicolas Vérin's Miroirs déformants II. For oboe and 4-track tape. This piece calls on very significant resources, both for the instrumental part and for the electro-acoustic part. The writing employs many unconventional techniques; the harmony and melody are related to multiphonics and quarter tones. The quadraphonic tape uses the oboe as its starting material, but also a few other sources (zarb, saxophone, synthetic sounds) with real-time processing.

Recording of Grant Chu Covell's Die zweite sommer abendstimmung am traunsee. The composer writes of this piece: Woe to the composer who dares to use a foreign title. The consequently required translation and explanation might not be worthwhile. Traunsee is a lake in Northern Austria, a popular vacation spot for Arnold Schoenberg and his family. At Traunsee, Schoenberg reputedly divulged his theory of twelve-tone composition to a few students and friends, intending to forever change music’s course. Traunsee may also be depicted in the third movement of Schoenberg’s Orchestral Pieces, Op. 16, alternately called Farben (Colors) or Sommermorgen an einem See (Summer Morning by a Lake). This last title is perhaps the most obvious reference for Die zweite Sommer Abendstimmung am Traunsee (The Second Summer-Evening at Traunsee). Instead of a gradual dissolution of tonality or a play with colors, I offer something corrosive, oppressing and nightmarish. Here is a sinister picture of the lake, perhaps revealing Schoenberg’s misgivings about his new system. Representing tonality’s last gasps, Mahler snippets are also enmeshed into the texture. The sound world of this piece is intentionally dated. I can imagine this piece accompanying an avant-garde film from the 70’s or something by Tarkovsky.

Recording of Richard Dudas' Interlude I from stories to read to your lover.

Recording of Anders Vinjar's Transparence - Coherence. The sound is built up in a multi-layer fashion, assembling together thousands of small bits and pieces, forming gestures and phrasings, using cross-synthesis and filtered-noise controlled by dynamic spectrum-measurements to gain control over the macro-layers of the sound. The sound plays along the noise tone axis, building up transparent layers interacting with other layers.

Recording of Josep Oriol Graus Ribas' Borgo 12 am. This work uses both pre-recorded processed sound and electronically built sound. There is moments of ambient textures followed by processed sound. This work explores the possibilities of combining both mediums into one unified piece.

Recording of Jorge Rapp's Tiempos virtuales. Composed at LIPM (Laboratorio de Investigación Y Producción Musical) and at Rapp's CEM Sound Laboratory. The composition was made with digitally processed acoustic material recordings. Some sounds were processed on computers NEXT in the LIPM. Others were elaborated with Macintosh in the composer`s studio, using diverse procedures. The structure consists of two parts: "A" which is divided into three sections, "B" divided into six sections and a Coda, which exposes once again the characteristics of "B" and "A".

Recording of Maurizio Martusciello's Rafforzando le ombre.

Recording of Lennart Westman's Sweden. The music of Sweden was composed already in 1997. However, in 1999 the collaboration with the visual artist Gunnar Jutelius was set about which resulted in the intermedial work Sweden is today. It has been performed in the autumn of 1999 at Café Umbra and Fylkingen in Stockholm, Sweden.

Recording of Simon Hall's Jazzthing. Jazzthing attempts to fuse some of the elements of jazz - the rhythmic vitality, the instrumentation, the freer forms of contemporary jazz music - with more abstract soundworlds and developed, highly processed material from the electroacoustic genre. The piece integrates sound objects with clearly identifiable extrinsic links with those that essentially transcend this, as well as, in time-honored jazz tradition, featuring quotations - both musical and vocal, obvious and occluded. During its course, Jazzthing moves from fast-moving, exhilarating textures to reflective, pensive soundworlds to pulsed, driving, rhythms. The sources for this piece, including the musical quotes and a couple of the spoken quotes, were performed by the composer and a number of their musician colleagues who kindly allowed the composer to "pinch" bits of their performances following recording sessions produced for release elsewhere. A couple of the vocal quotes and smallest sound objects come from jazz LPs and sample CDs. Much material has undergone significant transformation, notably by techniques of time manipulation and the cross-synthesis of sounds. Musical quotes include material from Weather Report's Birdland, Herbie Hancock's Cantaloupe Island, and Bob James' Theme from Taxi.

Recording of Bartlomiej Gliniak's Retro el-snobis. For electronics and sound processors. The sound material from this work was prepared with the usage of a Moog synthesizer, sampler E-mu E 4 ang sound processors : Eventide H-3000, Lexicon 480 and t.c. electronic T.C. 5000.

Recording of Magdalena Klapper-Rybicka's Instrument- area 1. "Area I" was written on commission from the Polish Radio Experimental Studio in Warsaw. The piece was produced on Csound and a Sonic Solution system, with the cooperation of Ewa Guziolek-Tubelewicz. The piece is based on two groups of sounds: those of woodwinds and brass instruments, recorded in anechoic chamber, and sounds of string, generated by computer algorithms. The form of this piece is composed to resemble a "bridge'' as far as the sound pitch is concerned. Although "Area I" is an electroacoustic piece, it has an instrumental character.

Recording of Chin-Chin Chen's Points of no return. This is a composition for vibraphone and tape. It is realized by using Ensoniq SQ-2, SQ-R, and YAMAHA TX81Z. This composition is trying to maintain the identity of the soloist vibraphone, and at the same time to create the ambiguity between the live vibe and the ghost vibe to some degree in some sections. The whole piece is clearly divided into 6 sections. The live vibe sometimes stands in the limelight and sometimes merges into the tape. There is a vibe cadenza in the middle of the piece.

Recording of James Bentley's Bruit.

Recording of Linda Antas' Still, Yet, Again.

Recording of Michael Thompson's Machine werks. This work uses pre-recorded machine like sounds in there both unprocessed and processed forms.

Recording of Alexander Gabrys' L'oeil neutrino.

Recording of Christian Banasik's Wenn die klagestimmen der stadt II.

Recording of Jacob TV's Dialogues. This work is made up of two movements: "Gulf war" and "Talk show". Dialogues uses recording of speech and electronics to created musical gesture and interaction.

Recording of André Ruschkowski's Les pas intérieurs.

Recording of Yasuhiro Otani's The flash of the summer. There is a possibility to explore creativity through Technology using programs which were designed to include one's consciousness. We can feel construction of music and the structure of this work. Program will perform with a lot of technique such as collage, improvisation and realtime electronics. This piece used programs MaxMSP and Supercollider.

Recording of Francesco Giomi's Agnaby. Realized at the Sheffield University Sound Studio (UK). Agnaby is an electroacoustic drama freely inspired by the novel "L'Etranger" by Albert Camus. It is also an attempt to get in touch, from a musical point of view, with Arab culture and language. The material is derived from a) environmental sounds of the Arab urban life and culture; b) fragments from Arab traditional music and texts; c) excerpts from the French text of the book read by Daniel Arfib. The objects, having pre-existing functions and carrying intrinsic associations and meanings, have been processed with different algorithms in order to create different degrees of transformation and recognizability. The formal structure of the piece is divided into two parts; the first follows the idea of a story taking place in an open and free space, with its noises and its sonic life; the second moves along the idea of a close and narrow environment, the courthouse of the novel, with its people, its atmospheres and its more introverted and predestined character. Agnaby was realized during a period of composer residence at the Department of Music of the University of Sheffield and it was premiered in Cagliari during the …

Recording of Raul Minsburg's Dias despues... This work expresses, the feeling of violence. In Argentina, during the 70's, one of the cruellest dictatorships of Latinoamerica, left the country with unhealed scars. This work references violent situations, very loud sounds, or very sharp, or a very fast succession of them. Expressing the feeling or memory of violence, with different levels of tension. The sounds were chosen according to the particular situations of tensions, recognizable sounds of voices, cries, and human actions were set.

Recording of Eduardo Reck Miranda's Requiem per una veu perduda. For mezzo-soprano, recorded electroacoustic and live effects, made up of four movements: Kyrie, Gloria, Sanctus and Benedictus, and Agnus Dei. This composition is an experiment on enlarging the lexicon for a piece heavily rooted in musical tradition. Virtual digital instruments, synthesized singing and manipulation of the inner structure of voice and natural sounds are the means for extending the expressive power of an ecclesiastical musical form.

Recording of Christian Dergarabedian's Espacio para estar solito.