Recording of Bernard Donzel Gargand's Train fantôme. This is a work for electronics and various concrete sounds.

Recording of Jorge Rapp's Tres momentos. This work was produced at Rapp's CEM Sound Laboratory and the eight channel version was composed in the LIPM. The composer separates the piece into three sections: the first is dedicated to electronic sounds, the second consists of a processed male voice, and the third incorporates a modified choir sound mixed with materials from the first two sections.

Recording of Thomas Gerwin's TTr2.

Recording of Alexander Gabryś' L'Ultima volta con decadenza. The composer describes this work as a "collage" made up of grains of music created the the last few decades by musicians close to his heart. One piece included in this recording is "The Rite of Spring" by Stravinsky. This recording is meant to highlight the end of a century and the start of a new one.

Recording of David Berezan's Unheard voices, ancient spaces.

Recording of Natasha Barrett's Viva la Selva!. This work consists of 4 continuous sections: 1. Morning introduction, 2. Midday heat, 3. Dancing at night, and 4. Dawn and rain. The sound sources in this work were recorded in a Central American rain forest, where the composer and their colleague traveled to record said samples. This work was commissioned by NICEM with support from the Norwegian composers' fund.

Recording of Serge Bouc's Vocalises.

Recording of Roderik de Man's Wait a minute !. This composition was created for the 1999 DVD project "Flash" by the Bifrons Foundation in which composers and visual artists were invited to create audio-visual productions. This work used various electronic sound samples, primarily a stopwatch counting down.

Recording of Sylvi MacCormac's Waves of Kokoro. This work is an electroacoustic soundscape for Kokoro Dance and includes the voice work of Barbara Bourget and Jay Hirabayashi. This piece received Honorable Mention at IMEB, Synthse '99.

Recording of Frederick L. Malouf's What it is ain't exactly clear.... This work is a "remix" of a recording the composer made at a family reunion in 1995. It is the third in a series that uses the same sound material, however in this piece the sounds are much more processed. The title comes from the lyrics to "For What It's Worth" by Stephen Stills which is about the turbulence in the 1960's. The composer also used family photos which were transformed into sound using the MetaSynth software program.

Recording of Colby Leider's White Fire. This work is for electronics and uses lightly processed pre-recorded sounds to creating an eerie, evolving soundscape.

Recording of Philip Samartzis' Windmills bordered by Nothingness. The original material in this work is made up of electroacoustic transformations of guitar and percussion. The composer altered them in a such a way to suggest the flow, texture, and sound of an ancient windmill.

Recording of Simo Lazarov's The winds of the Balk-an (The iron mountain). The composer compares this piece to the feeling of standing in front of a mountain and feeling the oppression of its grandeur.

Recording of Matthew Burtner's The Winter raven. This recording is a collection of excerpts from a live performance of the opera. This is a large-scale multimedia composition for voice, instrumental ensemble, electronics, dance ensemble, video projection, and theatrical staging. The three act composition metaphorically connects an Inuit creation story, in which the world is created by "Raven" with snow, with the ecological seasonal approach of winter. Each act contains a chamber music piece with video and a "story" involving music, dance, and interactive video. This piece was inspired by the composers home in Alaska and was written as part of his dissertation at Stanford University. It premiered at the University of Virginia in 2003.

Recording of Robert Grassi's xscho-haii. This recording was made for mini disc and is made up of percussion, electronic drums, and voice. The vocals in this work are impromptu of onomatopoeia and sound effects. The composer describes it as "vocal combat".

Recording of Julia Dmitrioukova's Y-Planet. The composer intends for this piece to encapsulate the idea of Earth transforming from a simple life planet to "point X" in galactic space during the 20th century.

Recording of Stelios Giannoulakis' Zrrraam!. This work consists of processed speech, instrumental sounds, water, machines, and doors to help explore the duality between "inside" and "outside". The piece was mentioned at the Bourge International Electroacoustic Competition in 2000.