Recording of Juhee Chung's The downs. This is a work for electronics.

Recording of Abdul Wahid Hasnizam's DREAMS. This work was created with series of material collected during the composer's 4 year stay at Birmingham. The composer considers this his comment towards the cultural differences between the industrialized city of Birmingham and the small town of Kota Samarahan in Malaysia.

Recording of Frank Niehusmann's Everything under control by my nanotec swarm. This is a work for electronics that was created on a computer keyboard with different sound samples programmed on each key. The inspiration for this piece was the composer's idea of a nanotec swarm following him around and aiding in his survival no matter where he is, from performing mundane tasks to actions with more significance.

Recording of Blas Payri's Evolutions-Ruptures. This is a work for electronics.

Recording of Stéphane Monteiro's Exmachina. This is a work for electronics.

Recording of Fernando Laub's Exploración de Cerebro. This is a work for electronics that discusses a future machine that can explore the depths of the mind and for the first time has an experience with a human.

Recording of Raoul Lacabanne's Un express de l'avenir. This is a work for electronics.

Recording of Juan Parra Cancino's fA1LiN(n)G. This is a work for harpsichord and live electronics that was dedicated to Anne Faulborn. This piece aims primarily to create a symbiotic instrument between the mechanical and the electronic sound producers, the properties of the mechanisms of the harpsichord, and its sonic qualities as well as the use of the computer as an enhancer of these properties. Using a limited set of musical gestures, the time structure of the piece is a journey between different possible timbres, accents, resonances and frequency zones.

Recording of Todor Todoroff's Les familiers du labyrinthe. This work emphasizes the creation of virtual sound architectures which then reveals the existence of an invisible world. Music and sound decoration are integrated here using all the resources of electroacoustics. The work has been separated into 5 unnamed movements.

Recording of Roxanne Turcotte's Fantaisie Urbaine. This is a work for vocals and electroacoustic sounds. The composer describes this piece as telling a story of different people walking through a city, meeting and discovering new things. Various sounds illustrate the suspense and intrigue.

Recording of Sten Hanson's Les fascistes de santé. This is a work for electronics that includes English spoken word and distorted voices.

Recording of Jason Bolte's Friction. This work explores the sounds and structures that are produced when a secondary force is applied to an object in physical contact with another. This work is focused on the buildup and ultimate release of energy as the force of friction is exceeded. The sonic material in this work is based on real-world sounds.

Recording of Hugo Druetta's Hoja sin ruta. This is a work that uses recordings made from different tools like saw and hammer which sawed up and struck pieces of wood and metal. The original sources cannot be clearly perceived because they have been widely processed by computer software. The composer attempted to express all of the feelings he experiences when reading Jules Verne.

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 João Pedro Oliveira's Et ignis involvens. This is a work for electronics that was inspired by the first vision of the prophet Ezechiel in the bible. This piece was composed with a grant from Portuguese Performing Arts Awards and was recorded for octophonic tracks.

Recording of Marcin Wierzbicki's Imaginary part of life. This work was inspired by the concept of robots and their artificial lives, emotions, and dreams. When describing this piece, the composer references Stanisław Lem's "The Robots' Tales".

Recording of Nicolas Vérin's Interleaved tracks. This is a work for clarinet and electronics that was dedicated to Louis Sclavis. The electroacoustics of this piece include pre-recorded sounds, some of which were chosen by the musician and others that are transformed sounds of the clarinet. This piece is based on the work done within the Daroux/Sclavis/Vérin trio.

Recording of David Behar's Invention Posthume. This is a work for electronics that includes percussion.

Recording of Per Samuelsson's Invito. The composer describes this piece as inviting the listener to "crawl under the skin of string instruments and let them sound in a way we are normally not used to". The fact that other sounds naturally fit into this piece proves that not just ordinary musical instruments find it's spot on the musical map.

Recording of Adam Stansbie's Isthmus. This is a work for electroacoustics that includes 3 untitled movements. The sound material for this composition was derived entirely from solo and ensemble performances of three string instruments: violin, viola, and cello. The electronic transformations become more complex throughout the movements until the sound is almost purely virtual.

Recording of Krzysztof Topolski's Jasno. This is a work for electronics.

Recording of Philippe Gonin's Je n'aime que la liberté, la musique et la mer. This is a work for electronics that is dedicated to French author, Jules Verne; the title of this piece is a quote from Verne. The music in this work is meant to highlight the descriptions of sound and music in Verne's novels as well as the author's own musical taste, which often reflected a bourgeois spirit.

Recording of Wittwulf Y Malik's Journey in the future. This is a work for electronics that includes the sound of distorted voices.

Recording of Klaus Roder's Jules Mobile 2005. This work pays homage to Jules Verne and was inspired by fictitious vehicles, submarines, machines, strange beings, and other creatures that can delight and fright. The sounds for this piece were created with Csound and the software of CDP. It does not include any recordings of acoustic material.