Recording of Rubén Hinojosa Chapel's El fin del caos llega quietamente. This piece was intended to demonstrate that mathematics can also be a path to music. It was created entirely in real time from the calculus of the Logistic function by means of the Fractal Composer system and recorded in one pass.

Recording of Rubén Hinojosa Chapel and Bérengère de Tarlé's Camello. This work tells an imaginary story by taking elements from real life including the sounds of public transportation in Havana. It is a soundscape of a part of the daily life in Havana. The composer points to the importance of the words in the piece from people speaking and public announcements as it holds symbolism for the Cuban people. This work premiered at the "XIII Festival de La Habana de Música Contemporánea".

Recording of John Gibson's Thrum. This is an electroacoustic piece that revolves around a wide range of sounds played on an acoustic guitar. Many of the guitar textures were created by a virtual player that read short guitar samples and created a pulsed repetitive texture. The composer's aim was to create music that balances human qualities against the regularity of machines.

Recording of Gordon Fitzell's The garden electric. This work was inspired by images in John Milton's epic, Paradise Lost, and uses an industrial soundscape to depict a modern Garden of Eden. The piece premiered at Telling Visions, a concert at Simon Fraser University in Canada.

Recording of Jean-Louis Poliart's Acousmaclarine. This work consists of two recordings: one of the electronic tape only, the other of the electronic tape and bass clarinet performance on top. This work is a counterpart to the 1980's piece "Contrephase" and has an opposite approach to the relationship between the electroacoustic montage and clarinetist.

Recording of Carlos Suarez Sanchez's Mystères des animaux sorciers.

Recording of Judy Klein's The Wolves of Bays Mountain. This piece is compromised of recordings taken by the composer at Bays Mountain Park in Eastern Tennessee of the wolves that lived there during the 1990's. The work is recorded on the Open Space 15 compact disc.

Recording of João Pedro Oliveira's Alap-jor-jhala-gat. This piece is part 2 of the larger work: The Journey of Sounds, and is based on the traditions of India. This recording is separated into two versions, one with violin and viola and one without. It was commissioned for the festivities of the 500th anniversary of the Portuguese discoveries.

Recording of Natasha Barrett's Microclimate II: Red snow. This piece is the second in a series of works titled "microclimates". "Red snow" was inspired by the meteorological and geographical climate changes the composer experienced during their move from England to Norway in January.

Recording of Stelios Giannoulakis' Plastic. This piece is segmented into 3 parts: genesis, environment, and life. All sound material is originated from a single 10 second recording.

Recording of Agnès Poisson's Oracle et baliverne. This piece is based on the theme "2048, the centenary of concrete music" and explores the passing of time through various sound mediums.

Recording of Elainie Lillios' Stumbling Dance. This work is a combination of concrete sounds and electronics.

Recording of Paul Rudy's Remnants. This piece is made entirely of trumpet samples provided by Jack Sutte, and was composed at Victoria University in New Zealand on a Fulbright Fellowship. The work explores different remnants of the trumpet, including the composer's own experience playing jazz as well as the instrument on its own.

Recording of Mathew Adkins' Neutrotransmission. This is a work for electronics.

Recording of Lucien Goethals' Otros momentos. This is a work for electronics.

Recording of John Young's Liquid Sky. This piece is an exploration of the sound-image of rain. The composer processed various sounds of rain in different environments to create a "larger-than-life" feeling. This work was commissioned by the Ina-GRM.

Recording of Annette Vande Gorne's Vox Alia. This work is separated into 4 main movements: Giocoso, Amoroso, Inncentemente, and Furioso. The composer describes each of these as small vocal studies that have been transformed through electroacoustics. While this work is split into separate tracks, they are all meant to be played together in an octophonic setting. This work was commissioned by the GRM (a musical research group in Paris).

Recording of Mladen Milicevic's Big bang of the apocalypse. This recording was made for electronics and the text comes from the book of Genesis in the bible.

Recording of Elizabeth Anderson's Chat noir. This piece is the second work in a cycle of recordings based on the book "Owning Your Own Shadow - Understanding the Dark Side of the Psyche" by Robert A. Johnson. "Chat Noir" explores the paradox of opposition in the psychological reality of mankind. This work was created with the support of the ministry of the French speaking community in Belgium and is registered at S.A.C.E.M.

Recording of Patricia E. Martinez's Duelo intenson. This work was made for electronics.

Recording of Patricia E. Martinez's El utimo rito (The last rite). This work was made for electronics.

Recording of Maggi Payne's Raw Data. This work was composed as a response to Koji Marutani's request for pieces for his End ID CD. The theme was to address the technological advances that occurred in the 20th century and "Raw Data" was made using sounds of shortwave broadcasts. The piece moves from early 20th Century communications (Morse code transmissions) to present (tapes, cassettes, shortwave, etc.).

Recording of Guillaume Bonnefont's Métaux Hurlants. This piece is the first in a series of four works that were inspired by science fiction and the composers vision of mankind's evolution in space.

Recording of Curtis Roads' Half-life. This work is divided into 2 sections: Sonal atoms and Granules. It was premiered in May 1998 at the Australian National Academy of Music, Melbourne, with sound projection over 28 loudspeakers. The composer dedicates this work to his friend, the composer Ivan Tcherepnin.