Recording of Lennart Westman's Sweden. The music of Sweden was composed already in 1997. However, in 1999 the collaboration with the visual artist Gunnar Jutelius was set about which resulted in the intermedial work Sweden is today. It has been performed in the autumn of 1999 at Café Umbra and Fylkingen in Stockholm, Sweden.

Recording of Simon Hall's Jazzthing. Jazzthing attempts to fuse some of the elements of jazz - the rhythmic vitality, the instrumentation, the freer forms of contemporary jazz music - with more abstract soundworlds and developed, highly processed material from the electroacoustic genre. The piece integrates sound objects with clearly identifiable extrinsic links with those that essentially transcend this, as well as, in time-honored jazz tradition, featuring quotations - both musical and vocal, obvious and occluded. During its course, Jazzthing moves from fast-moving, exhilarating textures to reflective, pensive soundworlds to pulsed, driving, rhythms. The sources for this piece, including the musical quotes and a couple of the spoken quotes, were performed by the composer and a number of their musician colleagues who kindly allowed the composer to "pinch" bits of their performances following recording sessions produced for release elsewhere. A couple of the vocal quotes and smallest sound objects come from jazz LPs and sample CDs. Much material has undergone significant transformation, notably by techniques of time manipulation and the cross-synthesis of sounds. Musical quotes include material from Weather Report's Birdland, Herbie Hancock's Cantaloupe Island, and Bob James' Theme from Taxi.

Recording of James Bentley's Bruit.

Recording of Jacob TV's Dialogues. This work is made up of two movements: "Gulf war" and "Talk show". Dialogues uses recording of speech and electronics to created musical gesture and interaction.

Recording of Yasuhiro Otani's The flash of the summer. There is a possibility to explore creativity through Technology using programs which were designed to include one's consciousness. We can feel construction of music and the structure of this work. Program will perform with a lot of technique such as collage, improvisation and realtime electronics. This piece used programs MaxMSP and Supercollider.

Recording of Jon Christopher Nelson's The rain has a slap and a curve. For computer-generated tape, based upon excerpts from Robert Gregory's poem "rain, convenience store, hungry cats". The majority of the sonic material is derived from a recording of the poet reading lines from the poem. The compositions if divided into three main sections, which explore the sonic possibilities of the source material.

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 Charles Bestor's Into the Labyrinth. The "Into the Labyrinth" suite was winner of the Grand Prize in the Musica Nova International Competition of the Czech Republic. The work was realized in the Electronic and Computer Music Studios of the University of Massachusetts, USA.

Recording of Lou Mallozzi's Aquapolis. The sound material is language and ambient recordings. The text is written in English, and has been translated into German and Venetian Italian. There are aquatic sounds, body sounds, and sounds of physical labor. Conceptually, the piece is based on a fictional trans-historical walk through an aquatic city, loosely based on Venice. The piece is in four sections: Preamble, 2000 Years Ago, 200 Years Ago, and This Year.

Recording of Rose Dodd's Excess Pitch.

Recording of Joan La Barbara's De profundis: out of the depths, a signe // a different train. This work is for voice, spoken narration, and pre-recorded sound (both unprocessed and process).

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 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 Simon Hall's Mass Utterance.

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 Fredrick L. Malouf's Family Reunion (Remix 1). This work is a "remix" of a recording of the composers family reunion in 1995. There is a range of material from snoring, a game (Mad-Lib), conversation and laughter. There were 22 people at this reunion where the original material is rich with rhythm, sound, music and noise. It wasn’t necessary to do much processing, but rather enhance the source material and enhance the richness within. Very little processing was used, since the material speaks for itself.

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 Hans Ulrich Humpert's Candide: Unterwegs - en cheminn en el camino - Away. This piece includes periods of overlapping voices, with voices speaking in French, German, English, and Spanish; sometimes these overlaps consist of two voices in different languages, sometimes more.

Recording of Claude Hermitte's Ciels. The text comes from the revolutionary poem "Egy gondolat bánt engemet..." ("One Thought Torments Me") by Hungarian poet Sándor Petőfi (1823-1849), and can be roughly translated into English as: "When every enslaved people / Will rise up breaking his chains / Red faces will carry red flags / And on the flags we will write: / Freedom for the whole world!"

Recording of David Kenneth Mason's Sys-Sax for six patches for solo synthophone.

Recording of Rajmil Fischman's Alma latina. The composer has this to say on the background of the piece, and of this piece itself: Time is a strange background against which our lives develop. Linearity is usually out of the question and memory cunningly warps and re-invents our past experience to such an extent that the latter becomes alive, threading between past and future. It has been forty years since my personal thread started, more than twenty since I left the birthplace and a long time since my last visit. During all this span - especially after leaving and finding other homes - the conglomeration of conscious and subconscious moments bubbled out, combined with new experiences and created labyrinthine inner passages in which sounds, images, smells and other sensations from different periods mixed and evolved into new forms. Music which was previously dismissed and undervalued suddenly acquired a new significance. Strong images of pain and joy amidst the contrasting richness and poverty of a South American city became representative of a historico-political situation. Taste and scent of food, combined with the physical sensation of dance movement, turned into cornerstones of thought about the essence of human condition. All of these are …

Recording of Joshua Fried's About Howard Johnson/Affirmative. This work uses MIDI in unusual ways. Sound modules become a silent controller of analog gates, and continuous controllers manipulate digital processors in real time. When channel gates are triggered at an even rate, one obtains the well-known strobe effect of slowing down, stopping or even reversing the apparent motion of a rotating object. As trigger cycle and loop cycle move out of phase, bits of sound seem to wander from speaker to speaker through the space. This work also functions as a study for live performances that will process found sound with a combination of selectable algorithms and performer control.

Recording of Barry Truax's Wings of Fire. For cello and digital soundtracks. This work uses Wings of Fire by B.C. poet Joy Kirstin. In the work, the lover addressed in the poem is personified by the instrument which is also the source of all the material used to create the tape part. This material consists of short fragments of bowing on the bridge of the instrument, natural and artificial harmonics, snap pizzicato, and col legno attacks. The sounds on tape that resemble bowed notes are in fact synthesized using digital resonators that model the behaviour of a string, each tuned to the pitch of one of the cello's open strings. These resonators are used to process both the cello sounds and text such that at certain moments the voice and instrument merge as one.