Recording of Manuel Rocha Iturbide's Parlantes. This work was inspired by the abundance of screens and loud speakers that fill big cities in Japan. The composer explores the role speakers now play in the daily cultures of Japanese cities. The protagonists of this composition are the speakers and the recorders that reproduce these sounds. This reflects the gradual disintegration of the human voice through modern technology.

Recording of Sijun Liu's Fall in the engendar. This is a work for electronics that includes voice and guqin.

Recording of Diana Pérez Custodio's No todo el mundo puede ser adorable. This work explores the idea that "life smiles down on us if we are adorable". This piece premiered during a concert that was part of the "XI International Electroacoustic Music Festival Punto de Encuentro".

Recording of Juan Antonio Lleo's Pulsar 32b. This work was composed as part of the 2002 Midiverso Installation at the XVIII Contemporary Music Festival, wherein the composer acts as a luthier of an impossible instrument, a hemisphere with 32 one-button-instruments. The Midiverso players are the ones who decide to interact with the system, playing different buttons and sounds. Therefore, they are the composer, player, and audience at the same time.

Recording of Angelo Benedetti's Incubi. This is a work for electronics. The composer describes this piece as encapsulating "the powerful emotion of awakening". It includes strong and vivid sound situations that follow and interrupt each other as they guide to the conclusion of the path.

Recording of Jos Janssen's Morandi's clarinet. The composer describes this work as comparative electronic music and an integration of Western and Eastern music. This piece was inspired by the Italian painter Morandi and the composer wanted to integrate the comparative music dimensions: Becoming, Being, and Not-Being.

Recording of Santiago Tomas Diez Fischer's Krystalis. This work was inspired by the sounds that crystals make and how the sound expands and grows. The composition explores the story of a man noticing crystals in space and seeing his death in the reflection of them.

Recording of Rudolf Ruzicka's Creation. This work is a large-scale computer electronic composition and consists of 9 parts each with their own Latin title: Stridor, Clangor, Sonor, Clamor, Fremor, Canor, Fragor, Rumor, and Plangor. This work was made with the help of the CCOMP computer program for the composition of instrumental, vocal, and electronic works. The inspiration behind the work is the concept of creation, especially when considering the significance of man on Earth in both a creative (birth) and destructive (death) sense. This recording is accompanied by a video.

Recording of Rudolf Ruzicka's Creation. This video is a large-scale work and consists of 9 parts each with their own Latin title: Stridor, Clangor, Sonor, Clamor, Fremor, Canor, Fragor, Rumor, and Plangor. The inspiration behind the work is the concept of creation, especially when considering the significance of man on Earth in both a creative (birth) and destructive (death) sense. The video includes visuals of space, fire, and the ocean as well as Middle Eastern text and hand imagery. This video is accompanied by an electroacoustic composition.

Recording of Stefan Goldmann's Turret. The main ingredients of this piece are multiple layers of sounds from a wavetable synthesizer plus, ring-modulated sinus waves, and a couple of samples from unidentified recordings. Since creation, Turret has become part of the composers Macro mix.

Recording of Nikos Stavropoulos' Thermal Diffraction. This work is a video composed alongside a recording of a piano and live electronics, however at the time of metadata creation the recording is video only with no sound. The video was created by the composer James Mooney at the University of Sheffield and includes video footage of the compositional process and performance of the work on piano. These videos were then digitally processed to form abstract images that were arranged in a way to mimic that of the composition.

Recording of Nikos Stavropoulos' Resurrection. The material for this work was developed out of simple and short sounds that accidentally occurred in the digital studio during previous works (clicks, pops, etc.). These sounds were transformed into more organic, gestural material. The only field recording used in this piece is the sound of crickets, this was used to establish a nocturnal soundscape.

Recording of Natasha Barrett's Prince prospero's. The composer describes this piece as a "sonification" of Edgar Allan Poe's short story 'The Mask of the Red Death'. The music follows closely to the events and evocations found within the text and includes samples of "Danse Macabre" by Camille Saint-Saëns. Although the story follows a path of inevitable doom and gloom, it has the capacity to evoke amazingly surreal, multi-faceted space within which the drama is placed. This work was commissioned by the 3rd Practice Music Festival and the Molden Centre for the Arts, Richmond, USA.

Recording of Robert Andrew Mackay's Eleventh of the ninth, two thousand and one. This is a work for electronics that includes spoken word as well as environmental sounds that reflect the tragedy of 9/11. There are also samples of the piece "O Fortuna (Carmina Burana)" by Carl Orff.

Recording of Robert Dow's Burnt Umber. This is a work for electronics that includes the sounds of fire and chimes.

Recording of Federico Schumacher Ratti's Estrellas compactas. This work is based on the musical possibilities of the flexible hose of the composers vacuum cleaner while also being a tribute to a small apartment in Nantes where the composer used to live.

Recording of Jeffrey Hall's The Haunted Garden. This is a work for electronics.

Recording of Kyong Mee Choi's Onomatopoetic Mimesis (Memory of Messiaen). As the title suggests, the material for this work comes from imitating sounds that are then transformed into sounds that imitate gestures. This piece is the composer's interpretation of the relationship between Messiaen and the bird sounds that he loved.

Recording of Hubert Michel's Rayures. The inspiration for this work was the concept of stripes, more specifically sound stripes, and its travel through the colors of time and space. The sound materials used were derived from a credit card on a metal grid, the sounds of colleagues and friends, and synthesis mining.

Recording of Tomonari Higaki's Arc-en-ciel nocturne. This is an acousmatic work separated into 12 movements. The sounds in this work are meant to create a back and forth between reality and imagination, leading the listener into disarray and anxiety.

Recording of Roxanne Turcotte's Collection 1 "Musée sonore". This work consists of 11 movements that the composer has named "sound scenarios". Each of these movements include ambient sounds and elements of nature that tell a story. This work was inspired by the imaginary Tintin museum.

Recording of Trevor Wishart's Imago. This work deals with the transformation of sound on very different levels and includes sound samples from wine glasses, birds, the sea, human voices, and Gamelan music. The composer included elements from Jonty Harrison's "et ainsi de suite" that can be heard in the beginning. This work tries to make the logic of sound transformation as clear as possible.

Recording of Frederick Szymanski's Whorl. This work is an homage to Iannis Xenakis' Persepolis and was composed as a contribution to Asphodel's Persepolis remix project. The composer used the remastered version of the piece and transformed it through an analysis of the sonorities while preserving the intensity of the original piece's texture. Whorl also includes new material derived from the composer's exploration of synthesis.

Recording of Maggi Payne's Fluid Dynamics. Sources for this work include a faulty faucet, a gas service regulator, very thin brass sheeting, and a large steel ball rolling onto two strings of a koto-like instrument. These sound sources are highly processed and each include their own intricate timbre. The composer describes the listening experience as if being inside one of the entities, exploring every detail from the inside rather than being an outsider looking in.