Recording of Eric Mulard's Le miroir à salade. In the manner of Russian dolls, the Salad Mirror plays around obsessive and ultimately comical interlockings between audio stories from everyday life, including the meaning and sound of the words that structure it, are intertwined. The Salad Mirror is this time of listening during which the sound and the meaning of situations and words are as if in a state of weightlessness, without it being known in the end which of the two is anticipating on the other.

Recording of Nicolas Vérin's Rhapsodie parisienne. This work uses texts taken from "Spleen de Paris" by Charles Baudelaire. The reciter is the guide is the base of the piece and the speech: is hammered, stretched, stopped by rhythms based on a pulsation, and synthetic sounds. Translated antagonisms reflect contrast: presence/absence, natural/artificial, melodic/noise, near/distant, as well as by contrasts of style.

Recording of Elizabeth Anderson's Mimoyecques. The piece consists of two sets of recordings and electronics. One set of recordings would be made in and around the fortress and would serve as the base where the imprisonment, death, and transfiguration themes would be built. The second recording is in the languages of the 18 nationalities of the laborers. The central section of the work illustrates the idea of terror freedom is suddenly, inexplicably removed. The final section explores the concept of the departure of the souls of the victims.

Recording of Marcelle Deschênes' Les Vagues. This work is for voice and electronics. It is inspired by excerpts from Virginia Woolf's novel "Les Vagues". Moments of being of human are brought together haphazardly by the imagination of an old man. During the evening solitude, reflecting memories of incoherent and fleeting images from privileged moments of his life being to play and sensations emerge. This work represents a new stage which has been crossed; awakening the last rise of an endless fallout.

Recording of Eduardo Polonio's A-roving. This work begins with a reading of Lord Byson's "So We'll Go No More a Roving" and a story which is spoken in Spanish, about the architecture of Rome. The sounds are both pre-recorded and synthetic; there are nature sounds, sounds from inanimate objects, and synthetically built sounds.

Recording of Eric Mulard's La Loupe d'Orme. This work is for electronics, voice, and pre-recorded audio. The elm is a slender tree providing soft and hard wood. The elm burl is the most central part. It is the most precious space because it is rare and complex. To the eye, the elm magnifying glass offers a kaleidoscope of forms of relief, figures, circles, all at once harmonious and yet elusive in their contours. It depends on the viewing distance from the material.

Recording of Georg Katzer's L'Oracle de la Dive Bouteiller. This work is for actors and tapes. The nonsense lyrics are taken from the wonderful "Gargantua and Pantagruel" by Rabelais. There is a very important use of space, the sounds are at times isolated to where you may hear two different sounds on both sides, instead of predominantly in the center of the stereo system.

Recording of Philippe Blachard's L'Enfer est un petit début ou "la messe des pauvres" (requiem électroacoustique). Rabelais adored nothing so much as liberty and it therefore takes this anniversary to be remembered a little. The sound sources include Rabelaisian quotations and the five parts of a traditional mass, the selected texts being superimposed on a string of adulterated sounds. The sounds consists of many variety, such as, everyday sound object, voice, and synthetic sounds; which provide many musical dialogue.

Recording of Philippe Ménard's Rep-à-quatre. This piece is inspired by François Rabelais and his satire, grotesque, and bawdy jokes and songs. On a technical level, most of the sound material comes from samples of the texts (ASR 10 sampler) and the musical organization is managed by the MAX software, my improvising assistant.

Recording of Jean-François Cavro's Discours Croises. The translation of the piece's title is "Crossed Discourse", and it is for tuba-bass in F and electronic device. The tuba evolves in a free, quasi-improvised way, on urban soundscapes collected in Japanese metropolises, such as Tokyo, Kyoto and Osaka. The dialogue between the instrument and the pre-recorded medium is played in the mode of a constant search for mutual imbalance with the tuba having to make its way through the richness of the recorded events, hence this cross-talk.

Recording of Ryszard Szeremeta's Celtic Circles - 1. It is for string plucked instruments, piano, wind instruments, percussion, and electronics. This piece uses synthetic instruments which eventually unfold into a upbeat song with a synthesizer providing a melody and the percussion accompanying. The piece switches between rhythmic sections and still almost-legato sections.

Recording of Eric Cordier's Un Nom A Quoi? There is speech throughout this piece and lying underneath is where the electronics create a layer of sound adding complexity and texture to the overall piece.

Recording of Philippe Moënne-Loccoz's Vision urbaine II ou Annecy… et moi aussi! This work discusses the dissatisfaction from a composer's point of view and adds musical touches. These added changes makes these atmospheres resonate, which makes the work more alive, timeless, and technical.

Recording of Bernard Fort's Le voyage d'Alice. This work is inspired by Lewis Carroll, and following Alice from "Alice's Adventures in Wonderland". The story behind this work puts music to surreal situations, imaginary spaces, and the mobility of sounds. There are different stages of Alice's journey will take turns climbing the levels of listening, from the simplest like Alice's garden to the additional complex acoustic sound material.

Recording of Yves Potvin's Retour d'appel. The use of voice and rhythm is the foreground of this piece. There are electronically built sounds and percussion which allow for the rhythmic aspect of the vocal part to have added complexity. Often times the voice is either syncopated or in unison.

Recording of Jürgen Bräuninger and Ulrich Süsse's Le bass de auf a bourges du dat. It is a work for saxophone, bass clarinet, and electronics. There are speech snippets which are accompanied by free improv from the saxophone and clarinet, while processed and manipulated recording of these instruments play in the background.

Recording of Masahiro Miwa's Dithirambe. This work is for voice and electronics. This work explores just how much the composer could use electronic processing to alter the sound of the voice. The piece introduces the unprocessed voice and slowly begins to add different effects including: pitch alteration, reverberation, speed, and sound placement.

Recording of Marc Tremblay's "Silence...on fait du bruit". The definition of the word noise in the Larousse dictionary has a character that is both amusing and disturbing: "set of sounds without harmony". The piece is divided into two parts: lively and slow. Deliberately anecdotal in the first part, the piece slides towards an abstract atmosphere to discreetly salute the great noise makers that the Italian futurists were in their manifesto: "the art of noises".

Recording of Sergio Rojas De Carvalmo's Microinfinitos. This piece is a constellation of 27 micro-songs exploring poetry and music. It uses an electro-acoustic design that is music free of any adjective, without any fear or melodies or even rhythmic pulsations where the eroticism of the body is expressed. This work explores how music can enhance meaning behind the words from a poem.

Recording of Claude Schryer's Marche sonore I (Le matin du monde). The title translates to "Soundwalk I (The Morning of the World)." This piece is a radio fantasy based on the testimony of 25 people discussing their acoustic environments. The answers were orchesrated intp an electroacoustic soundwalk in six movements: Allô, Grenouilles, Auto-ville, Couches, Souffle de la terre, and Argument Electoral.

Recording of Gilles Gobeil's La ville machine. This work is a realization of ecological sound with electro-acoustic technique. The use of traditional technique allows for the listener to be immersed within different sound environments.

Recording of Yves Coffy's Ys. This piece is structured around two poems, one read by Jean-Pierre Niogret, "Beautiful City", and the other read by Mohammad, "Charnel-House Vertigo". In the first section, the timbres and the colors are organized around the first text: it overflows with the complexity of rumors, of savors, of secrets, and is progressively wound about by the second text in the language of Mohammad. In the third section, a sort of deep spatial envelope is obtained by the extreme slowing down of vinyl records, and then mixed. This symbolizes the silent crossing of the Medium.

Recording of Nicolas Verin's La Lueur de la fumée. The title of this piece translates to "The glow of the smoke." There is a wide variety of sound, including voice. The sounds are electronically manipulated and with different techniques.

Recording of Jacques Tremblay's Rictus Nocturne. This piece is divdied in six movements each named after a jazz standard: Blue Train, Blue Prints, The Duke, Quiet Now, Walkin, and The Shadow of Your Smile. There are many samples of jazz utilized in this piece and they pay homage to musicians in jazz.