Recording of Mathew Adkin's Noumena. "Noumena" was a term used by Kant referring to the things that underline our experience both of the physical world and of our own mental state. This work is a number of short discrete sections that play continuously, with the sections alternating between "inner" and "outer" senses.

Recording of Mathew Adkins' Breaking. This work mixes electronic sounds with those of classic R&B music.

Recording of César Amiguet Puig's Kontinuum. This work was made for electronics.

Recording of Linda Antas' A river from the walls. This work was inspired by rivers, both visually and philosophically and the composer attempts to create an image of water condensing into a powerful river.

Recording of Phil Archer's Kung Fu. This piece is composed entirely of source sounds taken from Chinese Kung Fu films and adopts the values and characteristics associated with these films. The composer's goal while writing this work was, while incorporating technique and valves commonly associated with electroacoustic music, to avoid or subvert obvious clichés of the genre.

Recording of Per Arvidsson-Bremmers' The rosary sequel.

Recording of Ron Averill's Tasting the crocodile's breath. There are two parts of this recording: the first is the electronic tape with piano accompaniment on top of it, and the second is the electronic tape only.

Recording of Miguel Azguime's Comunicacones. The sound materials in this piece come from concrete sounds from a Lisbon port, communication satellites, and texts in more than 30 different languages, as well as synthetic and instrumental sounds. This work was commissioned by the Lisbon World Fair Expo'98 and the concert version premiered at the "Musica em Novembro" festival in Lisbon.

Recording of Jean-Christophe Banaszak's Angustia. This work puts emphasis on the relation of space and the composer states that most of the piece has been processed in 3D, putting much of the sound in the background while only a sound resembling a slamming door remains in the foreground.

Recording of Jean-Christophe Banaszak's Juste avant le silence. The composer describes this piece as a timeline of mankind and their efforts through history to create a great world while simultaneously destroying it. The end of the piece is the start of a new beginning where humankind finds their future in their roots.

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 William Beck's in a pond or a cauldron ?. This is a work for electronics.

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

Recording of Nicola Bernardini's Recordare. The text in this work was written by the composer's father in which he reflects on the shock he felt at the situation in Bosnia. The composer hoped to create a comment on a complex issue without losing the impact of the event in question.

Recording of Gonzalo Biffarella's Los 7 Espejos. This work was composed for 6 instruments and electronics. This work is based on the idea of the computer "mirroring" each of the instruments presented in the piece. The composer purposefully makes the instrumental material stray from their traditional sounds, creating a confusing listening experience for the audience.

Recording of Gonzalo Biffarella's Tango. This work was commissioned by the WDR 3 of Cologne, Germany. This radiophonic piece was inspired by the origin of Tango and uses fragments from old songs as well as a lecture by Jorge Luis Borges about the topic. The text has been translated into German and French for segments of the work.

Recording of Rainer Boesch's Espaces V. The composer based this work on the sound of wing beats from pigeons.

Recording of Rainer Boesch's Souvenir (20e siècle). The composer describes this work as "prophetic" and gives reference to his own memories.

Recording of Serge Bouc's Vocalises.

Recording of Jurgen Brauninger's Ihlathi.

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 Christian Calon's Time well (la fontaine du temps). This work was commissioned by Ina-GRM with the help of the CAC and premiered at the Maison de Radio France in 2002. This work belongs to both a radio work (z | s) and sound installation (Time Corridor) that act as projects centered on the question of time. This piece is meant to create awareness of time through listening and is segmented into 4 tracks.

Recording of Guto Caminhoto's Paisagens Londrinenses 2. This piece is the second of a series of compositions based on soundscapes of Londrina city. The sound material uses recorded nature sounds as well as urban soundscapes. These sounds were then processed and synthesized over other sounds.

Recording of Edmund Campion's L'autre. This work explores the similarity between "consciousness and the unconscious" and the "contention for ascendancy between poetry and music". The piece begins with an emergence of consciousness - the birth of language out of sounds and syllables and dives into the development of the two elemental principles.