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

Recording of Elainie Lillios' Earth Ascending. This work uses traditional electro-acoustic techniques to create a complex sonic work blending the use of voice and sound processing, consisting of three movements.

Recording of Adrian Moore's Ethereality. This is an 8-track tape made for electronics.

Recording of Anna Rubin's and Laurie Hollander's Family Stories: Sophie, Sally. This work uses narrative, sampled ambient sounds, and computer-generated music. The narrative tells the story of Anna Rubin's mother, Sophie, Anna being raised by Sally, a surrogate mother, and her journey as an immigrant in Atlanta.

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 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 Alden Jenks' Martin put that gun away. The composer states that this work was a project that offered him a chance to learn new techniques of digital signal processing. The line of dialogue used in the work comes from a recording of a radio mystery play and includes manipulated sounds of a gun firing. The composer designed the work around five different ways of saying the phrase.

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

Recording of Mark Wingate's Ruckamuck. This is a work for electronics and various instrumental sounds.

Recording of Etienne Saur's Sonnerie pour les mille à venir. This work was composed within the framework of the open work "Le troisième millennium" of the IMEB during the Synthse Festival of Bourges 2000.

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 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 Nicholas Virgo's Westerlies. This is a work for electronics.

Recording of Steven Naylor's I wish. The composer describes this work as a musical portrait of an inner space in which unattainable longings, ambiguous desires, and persistent fears jostle for position. The sound samples in this work come from a previous composition by the same composer. This work was created with the help of the Nova Scotia Arts Council.

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 Tae Hong Park's Aboji. This work is a companion piece to "Omoni", both works being composed originally for two channel playback and subsequently for eight channels. The sound samples used in this composition are mostly speech, environmental, synthesized, and processed sounds that were a result of numerous interviews with various individuals.

Recording of Robert Andrew Mackay Augustine's Message. This is a work for voice and electronics. It includes samples of text from the book of Romans in the Bible.

Recording of Ewan Stefani's Blue Balloons. This work is an attempt to integrate a pitch-based musical structure with abstract sound objects. The composer states that the work holds a narrative theme about death and the absurdity of the afterlife.

Recording of Jésus Jara's Cadaveres exquisitos. This work is for electronics that includes tuba sound samples. It was performed at the Alicante International Contemporary Music Festival which fell under the theme of "The View of the World".

Recording of John Palmer's ...as it flies.... This is the composer's first work for tape and was inspired by the concept of the imaginary and elusive. The sound sources used are words recited from a poem called 'Eternity' by William Blake. This work premiered at Engine27 in New York and was commissioned by the Electronic Music Foundation.

Recording of Anna Rubin's Landmine. This is a work for amplified flute, live electronics, and digital audio. This audio contains spoken text interwoven with other musical material that dictate the experiences of David Levi Strauss in regards to landmines and demining in Cambodia. Other material is also drawn from the Human Rights Watch Report on Landmines. The work premiered at Bowling Green State University with flautist, Fiona Wilkinson.

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.