Recording of Taras Bujewski's The line of death.

Recording of Gary Berger's Link. This work was composed for alto-saxophone and live electronics. The saxophone pilots the computer and induces non-linear reactions from it.

Recording of Jacob Ter Veldhuis' Lipstick. This work is for amplified flute/alto flute and boombox and was written for Eleonore Pameijer. The soundtrack is based on audio from American talk shows and an interview with Billie Holiday. The composer credits two flautists for two separate recordings of the piece: Eleonore Pameijer on JacobTV - Heartbreakers and Alejandro Escuer on JacobTV - The Shing City.

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 Kent Olofsson's Il liuto d'Orféo. This work was created for guitar and tape, consisting of five movements with the guitarist's changing of instruments. 3 different guitars are used and certain strings have been tuned to allow for quartertone harmonics on all instruments. Many different playing techniques were used as well, straying from usual guitar-playing tendencies. The piece was commissioned by the Swedish Concert Institute and premiered at the Stockholm New Music festival.

Recording of Jacques Daney's Loa. This work represents the nature and wildlife of Africa.

Recording of Anders Vinjar's Lost Faces. This work explores the musical possibilities of objects without connection to ant clear physical appearance. The structure is a multi-layering of various recordings of concrete sound-material, each step picking up a small section of the material, and transforming it with various signal-processing. All sorts of temporal and spectral modification techniques were constructed and specialized effects algorithms, made up of trigonometric functions and applied to taste.

Recording of João Pedro Oliveira's Mahakala Sadhana. This piece was conceived as a western perspective about some musical traditions of the eastern countries. There is no intention to establish strict theoretical relations, but the pieces of the Journey of Sounds are the result of sound images suggested by these eastern traditions. Mahakala Sadhana is based on the musical tradition of Tibet Buddhism.

Recording of Theodoros Lotis' La Mer Bleue. This work is dedicated to Martha and is comprised of two movements: 1. bleu and 2. profonde. The sound materials used in this work have been treated electronically to mimic the sounds of the sea as well as create an image of light reflecting off the surface. The work as a whole expresses the joy and the purity of the water.

Recording of Enrico Cocco's Mercuriali Silenzi.

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 Stephan Dunkelman's Metharcana. This work was produced using material intended for a dance production. The composer used this work to explore the use of space within a time defined by the choreographic structure. He did this by presenting two seemingly ill-matched sonic worlds and making their relationship viable.

Recording of Katerina Ruzickova's Mezisveti. This work is an electronic variation to the composer's piece for solo piano. The piece is separated into six parts where the sound of an acoustic keyboard instrument always follows an electronic sound. The composer describes it as a "compromise between both extremes".

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 Bruce Hamilton's Moto. The title refers to the motor rhythms (real or implied) which drive a few simple melodic ideas through a variety of sonic environments. Samples of marimbas, guitars, fireworks, thunder, bugs, birds, vehicles, jackhammers, and other sounds, were edited with Sound Designer (digidesign), SoundHack (Tom Erbe), and the Kurzweil K2500. These sounds were sequenced using Digital Performer (Mark of the Unicorn) with effects from a Lexicon PCM 80. Additional processing and mixing were done with Pro Tools 4 (digidesign) software.

Recording of Roberto Morales-Manzanares' Murmullo a Voces. For electronics. This piece tries to express the tension towards some phenomenon or attitude shown by some sonic imaginary but very sophisticated hypothetical society.

Recording of Ulrich Suesse's Musicians plus one. For acoustic instruments and electronics. This uses sound processing to alter the sound's such as: delay, reverb, feedback, and differing types of sound effects.

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

Recording of Agostino di Scipio's Natura allo specchio. This work is based on two short fragments from William Shakespeare's the Tempest: "Hang you, / Hang you whoreson, / Insolent / Noise-maker! / There they hoist us / To cry to th'sea roar'd to us... to sigh / To th'winds, whose pity, sighing back again, / Did us but loving wrong". By focusing on these lines, this work speaks of solitude and no noise. Solitude is understood here not only as a kind of loneliness, but also as the human experience of feeling alone confronted with the forces of Nature. Noise, on the other hand, is understood as a means of freedom, as a source of life, and as a chance for signification - quite opposite to the common understanding of it. As the title suggests, in the sonorities of this work the composer tried to capture a sense of "natural" dynamics, but only using very artificial techniques and strategies. The meaning is also one of an interrogation concerning Nature and Artifact - and regarding the transparent human interface between them. Most of the sounds featured were generated with iterated non linear functions, used both as sound-generating engine (synthesis, micro-level sonic …

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

Recording of Mihail Afanasiev's Ni le rêve, ni lumière, ni la tristesse…. This is a work for electronics and is the continuation of the new sound space mastering.

Recording of Maurizio Martusciello's Non dice. Musique concrète realised in 1998-1999 in the studio of the composer. Inspired by a poem of Claudio Mutini.

Recording of Pär Johansson's Notes on Chinese warfare. This work is based on concrete sound material as well as analogue synthesizer sounds with a minimal amount of processing. The composer originally conceived this piece as a study on the integration of dissimilar sound objects and states that it suggests various events and processes taking place in a large building.

Recording of Vladan Radovanović's Nova98. This uses VST instruments and samples to create a vibrant piece full of electronic possibilities.