Recording of Mladen Milicevic's Big bang of the apocalypse. This recording was made for electronics and the text comes from the book of Genesis in the bible.

Recording of Elainie Lillios' Arturo. This work is based off of an interview with a tarot card reader living in Denton, Texas named Arturo. According to the composer, Arturo has interacted with many people and learned many life lessons. This piece reflects some of his views on life and the casting of cards to reveal future possibilities.

Recording of Jacob Ter Veldhuis' Lipstick. This work is for amplified flute/alto flute and boombox and was written for Eleonore Pameijer. The soundtrack is based on audio from American talk shows and an interview with Billie Holiday. The composer credits two flautists for two separate recordings of the piece: Eleonore Pameijer on JacobTV - Heartbreakers and Alejandro Escuer on JacobTV - The Shing City.

Recording of Jorge Rodrigo Sigal's Babel. This work is part of a larger CD project called "Manifesto". The piece is meant for flute, tape, and optional live electronics. The sound materials were recorded in Spain, France, and Mexico City. The composer dedicates this work to Stefano Scarani and it was premiered by Mr. Harrie Starreveld.

Recording of Robert Andrew Mackay's Voicewind. The composer based this work on a piece of text from "Oedipus at Colonus" by Sophocles, which itself is spoken within the piece. The material included also relates to the Greek ideals of music, set in place by Boethius.

Recording of Marc Verhoeven's Only two ears.

Recording of Christian Calon's Fragemnts pour Ulysse. Work for electronics, voice, and pre-recorded sound. This work is also made up of six sections.

Recording of Philippe Blanchard's Hopscotch. For electronics, pre-recorded sound, and voice. This work sonically navigates you through a story, accompanied with many sounds.

Recording of Mark Canfield-Taylor's Hello, It's your birthday. For electronics, manipulated voice and sound. This recording take repeated vocal fragments and expands the work's sonic environment with electronic sounds and differing timbres or rhythmic figures.

Recording of David Keane's Signor Marconi, His Ayre. For radios, 2 signal processors, and digitally controlled mixer. This work was designed to be performed live, with the only sound sources being 4 radio channels live broadcasting. The result of the mixing (under MIDI) control by the program that serves as the score for the piece is broadcast live on yet a fifth radio channel. The object of the piece is the creation of a structure that promises a successful piece, regardless of the program content of the source radio channels.

Recording of Michael Heisch's Edison. This work was created by ​​recording the pops and hisses of various shellac records onto DAT.

Recording of Pierre Alexandre Tremblay's Binary. This is a work for electronics that includes concrete voice sounds.

Recording of Katharine Norman's Five minute wonders. This work consists of 4 movements: 1. Anything from the minibar?, 2. Oranges and Lemons, 3. Something quite atrocious, and 4. You need a cab?. The composer describes this work as midway between music and documentary that celebrates the "wonder" of a particular time and place.

Recording of Grant Chu Covell's Continuous improvement. To the inexperienced eye, the perception of motion and activity often implies progress. When visiting new places which are full of activity, especially factories or places where things are being made, it is common to feel a certain excitement, and, because it’s not yet possible to discern what was going on, it’s easy to be convinced that wonderful things are occurring. But familiarity breeds contempt, as the saying goes, and as the new place becomes no longer new, it becomes easier to tell when people are just standing around looking busy or when they are in fact being productive. Continuous Improvement is a celebration of that initial feeling of motion, activity and progress, but it’s possible after repeated hearings to lose that first impression and realize that Continuous Improvement is actually a misnomer and in fact nothing is occurring at all. The composer notes having always been enthralled by manufacturing sites: the big machines, the large contained spaces and the wonderful sounds big machines make within large spaces. There is nothing quite like the sounds of machines: often before we understand what a machine does, or even learn its name, we become acquainted …

Recording of Christopher Penrose's American Jingo.

Recording of Fernando D. Polonuer's Breve reseña sobre los sueños, el vacío y la enfermedad. This composition is described as a program category work. It represents three steps in a painful and unconscious way to self-destruction. The dreams: the perception of loneliness and memories. The emptiness: the wake up, the light, the reflection, the comprehension. The illness: self-destruction, the fight for survival, pain and defeat. This work includes voices which have been recorded in different years. There is a voice singing fragments of a Tango called "Sus ojos se cerraron" and spoken words with thoughts about linguistic texts. Included texts and quoted material are listed by the composer, in English, as follows: "Today, my heart is lonely..." / "This silence is so cruel, is hurting me so..." / (Spoken) " Promises: can't they be true or false? When you say 'I promise!' that is already a promise - even though it might be a lie. Eh, I don't like that one bit!" / (Spoken) "Unreal conditions, I swear..." / "Intertwined tears refuse to come out..." / (Spoken) "The amount of indirect sense that is usually implied is an immediate problem..." / (Spoken) "She says there is a distance between superficial …

Recording of Massimo Carlentini's Fusione Virtuale.

Recording of Agostino di Scipio's Natura allo specchio. This work is based on two short fragments from William Shakespeare's the Tempest: "Hang you, / Hang you whoreson, / Insolent / Noise-maker! / There they hoist us / To cry to th'sea roar'd to us... to sigh / To th'winds, whose pity, sighing back again, / Did us but loving wrong". By focusing on these lines, this work speaks of solitude and no noise. Solitude is understood here not only as a kind of loneliness, but also as the human experience of feeling alone confronted with the forces of Nature. Noise, on the other hand, is understood as a means of freedom, as a source of life, and as a chance for signification - quite opposite to the common understanding of it. As the title suggests, in the sonorities of this work the composer tried to capture a sense of "natural" dynamics, but only using very artificial techniques and strategies. The meaning is also one of an interrogation concerning Nature and Artifact - and regarding the transparent human interface between them. Most of the sounds featured were generated with iterated non linear functions, used both as sound-generating engine (synthesis, micro-level sonic …

Recording of Diego Dall'Osto's Caosmofonia II. The composer includes the following statement to accompany the composition: As a communicating labyrinth, the whole world is also a pulverized and statistical cosmos. It frequently assumes devouring modalities, which embezzle and annihilate subjective perspectives. If you witness forms of drifting of personal identities, you also may find a sort of agglutinated dreams cradle, like a sea where we can lose ourselves, somehow relinquishing our subjective volition. The noise of the world symbolizes the combination of every will, dream, conversation, image and sound. But there are moments of microcosmic organization, emergent from the apparently chaotic flux of the whole (dynamic, hybrid, unstable, etc.). These are recurrent patterns, establishing conversation/fight relationships with the background: they emerge as autonomous organisms, assuming physiognomies and disappearing back to their indistinct origins or, perhaps, differently reemerging.

Recording of Elio Martusciello's A@traverso.it. The composer describes this work as "The voice through the technology of the '90s". This is a piece for electronics and includes various vocal samples.

Recording of Trevor Wishart's Two Women. This work consists of 4 movements: 1. Siren, 2. Facets, 3. Stentor, and 4. Angelus. This work is meant to act as an extended sound documentary, where the voice samples of Margaret Thatcher and Princess Diana create both a political cartoon and personal portrait respectively.