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 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.

Recording of Frank Corcoran's Quasi una missa. This work is comprised of 4 movements and was composed as a mass. Sound materials for this piece include English and Irish spoken word.

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 John Levack Drever's Soundings of Angel. This work presents and responds to three different readings of "Angel" a poem by Alice Oswald, which itself was inspired by paintings of angels by Cecil Collins and the gardens at Dartington Hall. The work was commissioned by the Institut National de l'Audiovisuel - Groupe de Recherches Musicales and premiered in the Salle Olivier Messiaen, Maison de Radio France, Paris.

Recording of Jeffrey Faustman's I consumer (concerto for car horn, television, and falling children). This work consists of three parts: 1. kleptomania - adagio, 2. pennies from heaven - allegro, and 3. human remains - andante. This work is for electronics and takes samples from various radio and television shows that highlight the overwhelming amount of consumerism presented in media.

Recording of Robert Grassi's L'ouest du palmarès. The composer describes this work as a live improvisation from a sample percussionists and speaker. The instrumentation was created by Yamaha drums and a Yamaha sampler.

Recording of Simon Hall's Mass Utterance.

Recording of Günter Heinz's Berlin views. This work presents the "sound of the city at the end of the century" and arose in connection with the video project Ç Vortex È of Akademie der Künste Berlin.

Recording of Jacob Ter Veldhuis' Grab it !. This composition was based on voice samples from American prisoners sentenced for life, taken from a documentary called "Scared Straight". The composer used pitch, rhythm, and melody to turn the spoken word into a musical theme.

Recording of Pierre Jodlowski's De front (Quatuor). The idea of ​​this piece is based on a set of writings around the processes of aggression in humans and animals, as well as on the notion of frontality (which relates to the intermediate, fuzzy zones of our experience - physical or intellectual). The principle of the work (hence the precision quartet) is based on the development, "in concentric circles," of four groups or entities: 1. clarinet / trumpet; 2. percussion; 3. string quintet; 4. parts electronics. These gradually close in on the listener. This convergence takes place through processes of accumulations and encounters in which perception passes from individualized states to a group feeling.

Recording of Marco Ligabue's Radiodays. This recording is a "radio" soundscape of some moments from the 20th century.

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 João Mendes' Paisagens sincreticas. This work is an exploration of 20th century musical icons along with the growth of techonology. Sound materials are used from Billie Holiday, the Beatles, Stravinsky, and Schönberg and have been processed.

Recording of Maggi Payne's Sweet Dreams. The composer notes that they have always been fascinated by richness of environmental sounds. After years of heavily processing environmental sounds (to the point where they are no longer recognizable) as the sonic basis for many of her works, she decided to compose a piece using only unprocessed (although extensively and meticulously cleaned up) environmental sounds. As a thread to tie these sounds (collected over almost thirty years) together, the composer decided to use those sounds which wake her up or keep her awake nights. Of particular noted interest is how some sounds seem to stay in the background and others become unnaturally present in the darkness. These perceptual anomalies are emphasized, and spatialization exaggerated in this work. The piece is intended to played over speakers, but listening in headphones will make the spatial and proximity effects even more apparent. All but one of the sounds were recorded by the composer - she notes that she could not resist putting in one "baa" from the cloned sheep, Dolly. Some of the recordings used for this piece were made as far back as 1972. Wanting to make technically better quality recordings of some of these …

Recording of Frank Schweizer's Songline. This work is made up of 10 untitled movements and contains various concrete and electronic sounds.

Recording of David Sheppard's Creamer. This work is based on the ambience of a café and the title touches on two concepts: the abstract world and the environmental atmosphere of the café.

Recording of Pekka Sirén and Agnieszka Waligórska's Chimera in Kosovo. This work represents the suffering of Kosovo refugees during wartime and utilizes radio mediums to further give the impression of the horrors and fears experienced by the victims. The piece uses radio voices and imaginary female cries as well as looped international newscaster voices.

Recording of Ipke Starke's Saturation. This work includes sound samples from political speeches and big band music.

Recording of Ulrich Suesse's Klangfassaden. The title of this work is an installation built into the two front walls of the Museum of Communication in Berlin, made up of loudspeakers that react to passing pedestrians. The theme of this the installation is communication and is built upon different sound experiences. This recording represents one possible "hearing experience".

Recording of Germán Toro Perez's Akustisch-visuelle Fragmente aus einer experimentellen Animation. This is a work for electronics and consists of 12 untitled movements.

Recording of Michael Ward-Bergeman's City to the Water. This work was inspired by a trip taken to Gloucester, Massachusetts by the composer and his wife. This journey was recorded and used as a foundation for this work. The composer separated the piece into 3 movements: 'The Train', 'The Walk', and 'The Water'.

Recording of Alicyn Warren's Path of Iron. This is a work for electronics and various concrete sound materials.

Recording of Trevor Wishart's American Triptych. The composer describes the aim of this work as to "recreate and transform the voices of well-known public figures in order to comment on them or their social context".