Recording of Olle Aberg's The wonderful adventures of Dr Olyd and her time-shaping machine. This is a work for electronics that tells the story of a scientist working on a machine that will alter space-time. The composer feels the title suggests a feeling of childhood adventures where anything could happen, which is reflected in the story. The piece has several layers and connotations, and the music amplifies the whole feeling.

Recording of César Amiguet Puig's Black Jukebox's tromblon. This work was made for electronics and a variety of concrete sounds.

Recording of Mark Applebaum's Pre-composition. This work consists of several voice recordings of the composer discussing with himself the process of writing a new electroacoustic work.

Recording of Larry Austin's Summer storm bellagio. This work is a soundscape and all the materials were recorded on the grounds of Villa Serelloni, overlooking Lake Como in the Italian Alps. The sounds of the storm that morning and accompanying environmental sounds were edited and processed.

Recording of Natasha Barrett's Hommage à Parmerud. This work acts as an homage to composer, Ake Parmerud. The two composers undertook a project where they swapped basic sound materials and composed new works based on each other's offerings. This piece is the product of that and gave Barrett the chance to compose her first homage to one of the many composers that have influenced students and professionals worldwide.

Recording of Natasha Barrett's Mobilis in Mobili. This work is the central axis of the larger electroacoustic work "Trade Winds" which was inspired by the vast expanse of sea. The title of the work comes from a novel by Jules Verne. This piece was commissioned by NoTAM with funds from the Norwegian Cultural Council and the Norwegian Composers' Fund. This work includes an excerpt from a sea shanty performed by the Storm Weather Shanty Choir.

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 Natasha Barrett's Utility of space. This work is an exploration of spatial musical structure and uses recited text from the "Tao Te Ching" as its driving force. This piece was commissioned by NICEM with support from Norsk Komponistfond. The composer has created two versions of this work, one for stereo and one for Ambisonics.

Recording of David Berezan's The wall and de panne. This is a work for electronics that includes various vocal sound samples.

Recording of Andy Birtwistle's Steel II. This work celebrates and mourns the failure of the Modernist dream represented by poet, Geoffrey Bridson's, 1937 broadcast: "Steel: An Industrial Symphony". It also captures the sound of an optimistic, heroic Modernist in the 21st century and how the new century would sound in contrast to the last.

Recording of Colin Black's Bouzouki Abstraction. This work explores the abstract connections between the traditional Greek bouzouki instrument and the constructs of music, heritage, and physical structures displaced in time. This is a bilingual piece that includes text performed in both English and Greek. Musically, this work combines electroacoustic composition, sound art, synthesis, harmonic singing samples, spoken word, and the traditional bouzouki instrument.

Recording of Leif Brush's Marsmoonsnatch. This work includes two movements: 'Marsmoonsnatch' and 'Marsmoonsnatch positioning'. The composer was inspired to create this work when hearing the plans of a Florida Professor to put a Mars moon in Earth's orbit. The composer compared this conceptual challenge to his own personal findings when it came to adjusting and learning new compositional techniques (most of which include nature and the environment).

Recording of Ivana Busu's Naufragi. This work was created to pay tribute to an example of 80s pop music: Message in a Bottle by The Police. This composition is separated into five sections, each of which have their own theme. The first section focuses on radio, the second represents a natural desert island, the third represents the state of mind of a castaway, the fourth theme is purely musical, and the fifth brings all of the previous themes together.

Recording of Candy Trash's Artillerie lourde. The composer wrote this piece with the idea of parenting in mind and separates the work into two parts that represent "father" and "mother" respectively. This piece showcases both the heavy weight of responsibility that falls on parents as well as the joy and support of family. The work has been segmented into 5 separate tracks.

Recording of Kyong Mee Choi's Rumi. This is a work for electronics and includes spoken word of the text, "A Community of the Spirit" written by Jelaluddin Rumi.

Recording of Peter De Moncey-Conegliano's In memoriam George Sand. This work pays homage to George Sand whose combination of acute social conscience and intense artistic sensibility are rare in today's world. This piece speaks on the outcomes of the Industrial Revolution and the first demand of socialism. The material in this piece includes texts by George Sand, fragments of a 19th century folk song, and Chopin's "Revolutionary Etude".

Recording of Robert Dow's Litany. This work was composed to be performed as part of a concert of Scottish electroacoustic music curated by the composer at the Florida Electroacoustic festival. The composer wanted to explore "real" instrumental sounds and utilize them in both a traditional manner and also as a way to construct new sounds.

Recording of Wesley Fuller's Vers. This work combines spoken word and music created on the computer. The piece reflects a volume of thirty-six poems called "Swarm" by Jorie Grahams. These poems focus on the weight of fulfilling the need to speak as well as the responsibility that comes with the human need for love. In this piece, the poet recites poem 640 of Emily Dickinson.

Recording of Guillermo Galindo's Haiku. For electronic, pre-recorded sound, voice, and flute. Based on a poem by Michael McClure, Haiku II represents nature and humans transcendental connection. Recorded and processed nature sounds coexistent and the flute material was derived from digital transformations. The original recording includes sounds of crickets, grasshoppers and cicadas and was digitally transformed in order to emphasize harmonic or textural content.

Recording of Stelios Giannoulakis' The Maze. This is a work for electronics and concrete sounds. It includes various dialogue snippets from old movies.

Recording of Stelios Giannoulakis' Nectariou 5. This is an electroacoustic work about family and distance. It is about memory and connection as articulated by long distance telephone communication and traveling.

Recording of Matías Giuliani's Tres paradigmas. This is a work for electronics that includes a sound sample of Frank Sinatra's song 'New York, New York'.

Recording of Edgar Guzman's 11.09.01. This is a work for electronics and was written as an homage to the victims of 9/11. It includes various sound samples from radio and TV broadcasts as well as fragments from Mozart's 'Lacrimosa'. The composer has included a recommended speaker layout in which all 8 channels are surrounding the audience in a circle.

Recording of Simon Hall's Millennial Spring Dream. This is a work for electronics and includes samples of spoken work and distorted vocals.