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 Sten Hanson's 8 variations sur une polska de Hammerdal. This work is part of a series called "recycling" where material from traditional music is brought into the world of electroacoustics and made to fit into that genre of music. This piece specifically uses material from a polka and is played with a willow flute. The recording of the willow flute was made 40 years ago and is the only one of its existence.

Recording of Harry-Ed Roland's N.A.M.A.: "booty" don't walk. The composer dedicates this work to the memory of Michael Schleiter. The inspiration behind this piece is the experience of the composer living as a person of color and continuing to deal with inequality everywhere he goes. The work is about "creating inequality and its seemingly intrinsic hypocrisy and irrational fears".

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 Michèle Tadini's L'albero capovolto. This piece is an improvisation scheme for the Virtuosi di Nuova Consonanza. Recorded using magnetic tape and live electronics. This piece uses a combination of synthetic sounds and natural instruments.

Recording of Antonio Ferreira's Ambidecst. This composition is based on rhythmic cells produced using several contrasting concrete and synthetic sound objects. Several episodes are assembled between them in order to create abrupt feelings of running and escaping. This composition was made using Csound, Cecilia and Metasynth and was globally mixed for Ambisonics UHJ stereo compatible. Final mixing and mastering done in Protools LE.

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".

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 Anne Scarlett Harris' Aquarius. This work mixes the world of the "great outdoors" and the multifarious sounds of indoor life, using sound materials from different sources of water. The composer states that this piece reflects not only the fluid side of nature, but is also a tribute to the time it was written.

Recording of Rudolf Ruzicka's Aranea. This composition was inspired by the comparison of the spider and the possibilities of the world wide web. The title is Latin for "cobweb" and gives tribute to this concept. The work attempts to express both the characteristics of a spider and the typical features of the modern era amplified by the Internet.

Recording of James Dashow's ...at other times, the distances. Quadraphonic electronic music. This work is a re-working of the electronic materials from FAR SOUNDS, BROKEN CRIES, for 12 instruments and electronic sounds. With the exception of a single cello note, the sounds were produced by the composer's MUSIC30 language for digital sound synthesis, and subsequently elaborated by additional signal processing.

Recording of Agnés Poisson's Attendre et espérer. This recording was produced within the framework of the open work "Le monde devenu musique l'écoute du siècle". Throughout this recording, the composer's father speaks about his time during war as a prisoner in a concentration camp. The piece overall touches on the horrors and tragedies of war around the world.

Recording of José Miguel Fernández's Attract. This work was composed in 1999 as part of a FONDART project of the Ministry of Education of the Chilean government, on the use of mathematical models (chaotic and stochastic) for musical composition and interaction with the computer. For this work, the composer used two chaotic models (torus and logistic map) for the clarinetist's score and random models (Brownian, 1/f and white noise) for the spatialization of the sound. The samples were made with Csound, Audiosculpt, Peak and Protools (for some editing). A pitch-to-MIDI converter triggers MIDI events on a proteusFX with a random beat. The computer keyboard triggers the samples as well as a Max sequence made with the torus model X n+1 = X n + Ksen Y n. The title for this composition is taken from the strange attractors which have recursive equations and fractals; it is also drawn from the attraction which produces some sounds in the unfolding of the work and in the interaction.

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 Carlos Cerana's Avaricum. This work refers to the historical continuity of the city Bourges. The composer was inspired by its history and tumultuous past.

Roberto Doati's Bastone armonico. For violin, rainsticks, electronics, and interactive system. This work attempts to realize the idea of a monochromatic surface electronically transforming the impulsive sounds of two ‘palo de lluvia’ (rainsticks). The interactive system settles the relationship between violin gestures and electronic part, adding may differing timbres.

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 André Ruschkowski's Boreas. This piece was composed as one part of a longer musical program originally created for the Susan Quinn Dance Company. The musical material consists of two levels: (1.) microphone-recorded sounds of everyday human activities, and (2.) musical material, which was produced with different means of electronic sound synthesis. The extensive electronic transformation of these items and their arrangement in larger musical units took place particularly on the basis of gesture criteria (i.e., the energetic process of human movement items, the rhythm of tension and relaxation, reflects itself directly in the musical structures and their combinations). The aim is to create by this means an electronic music, which is able to address the listener directly by this specific gesture or physical quality.

Recording of Yasuhiro Otani's Brain-Wash. This recording plays on the idea of the unspoken and the unheard as well as forgotten memories that return with new significance. The composer explores the idea of connecting electronic music with ones consciousness and thus making technology an essential humanizing force.

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

Recording of José Halac's The Breaking Of The Scream. This work was inspired by a folk song from North West Argentina called "Baguala del Tigre" and a poem written by Argentine poet Pablo Anadon called "Seasons of the Tree". The main ideas from both of these works converge into this composition.

Recording of Paul Koonce's Breath and the machine. This work was composed for 2 or 8 channel tape and is a meditation on the ritual of musical sound. The piece explores the relationship between performer and instrument and the process of turning focused air into sound.

Recording of Frédéric Kahn's Bref éloge du coup de tonnerre et du bruit d'ailes. Work made for electronics.

Recording of Eduardo Polonio's Brief Fast Ambrosia. This is a work for electronics.