Recording of Joshua Fried's Welcome to the Ice Box. The commission asked for a "sound scan of the 20th century." This work abstracts, interrogates and re-contextualizes selected sound bites that are historical and may arouse intense associations, and attempts to uncover great sonic and tonal beauty in them. This work uses samples and differing sound patterns to convey a modern soundscape.

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 Hiroki Takeishi's Labyrinth music. For voice, electronics, and pre-recorded audio. This work is for electronics and processed sound.

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 Amnon Wolman's Witches. This work uses sounds from electronic instruments, voice, and pre-recorded sound. This work also uses the poem "Praise to the Womyn" by Alice Lovelace.

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 Milos Betko's Personal relations. This piece is segmented into 9 parts by the composer: 1. just before, 2. micado of mammoths, 3. speech of birds, 4. celestial threats, 5. song 1, 6. up and down, 7. song 2: "How many times it sings...", 8. emotions, 9. trio. It's comprised of background noise, violin, voices of the composer's friends, etc. The piece seems to be a collection of sounds that the composer relates to his personal life and day to day.

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

Recording of Larry Austin's Djuro's Tree. Octophonic computer music. Djuro's Tree is centered around a family portrait of three generations. The story is set in a dynamically moving octophonic "family" tree of sound. The sounds of the tree's limbs creaking and rustling were taken from the BBC Sound Effects Library. The creaking limbs are a recording of a squeaking wooden chair. Software and hardware systems used in Birmingham included Sound Designer, SoundHack, Audiosculpt, Csound, and GRM Tools, on a Macintosh computer.

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

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

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

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 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 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 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 Johannes S. Sistermanns' Just and thongs. For two voices, house, sink, shower, radio, tv, train, Robert Fripp, keyboard, and telephone signal.

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 Richard Dudas' Interlude I from stories to read to your lover.

Recording of Christopher Penrose's American Jingo.