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 César Daniel Alarcón's Calvario. This work started as an exploration of sound sources from everyday life. The composer recorded various items while walking through his house and due to their strong identity, found he could barely transform them, and so their original sounds were kept throughout the work.

Recording of Juan Manuel Marrero Rivero's Caprices Episodiques. This is a work for electronics.

Recording of Stelios Giannoulakis' Chaotic Lucidity. The concept behind this work is taking abstract ideas and containing them in something simple and easily understood. The composer states that this piece is about "free association".

Recording of Vincent Laubeuf's En chemin. This work explores the relationship between the music and the spoken text, creating a confrontation between a physically present reader and music broadcast by loudspeakers.

Recording of Gyula Pinter's Les cloches de flammes roses. This work was created for electronics and soprano solo in which the text is only word fragments, allowing for more concentration on the music itself. The composer was inspired to write this piece after reading the verse volume by Arthur Rimbaud and wanted to create a composition that expressed the poet's scope of ideas.

Recording of Peter De Moncey-Conegliano's Composition number whatever. This work was inspired by Indian street temples and palaces mixed with inner reflections of the soul.

Recording of Jean-Michel Deliers' Concrétion III. This work is a collection of concrete and electroacoustic sounds that come together to tell the story of a man being executed.

Recording of David Behar's Connecte. For electronics. This works uses sound to take the listener on a sonic journey full of differing sound textures and both high and low impact moments. There is also moments of pre-recorded sound which is kept unprocessed and contrast the synthetic sound.

Recording of Michel Karsky's Contr'gris. This work was created for the Autumn Music Festival in Moscow and includes spoken Japanese and French text. The word "grisaille" is repeated several times and this composition plays on the notion of "grisaille". The title was recommended to the composer by a Russian musicologist who emphasized the importance of an accent when speaking it.

Recording of Marco Dibeltulu's Contrasti armonici. This is a work for electronics and synthesized sounds that the composer has used to create a "harmonious fabric". The composer states that the work can formally be divided into three parts: the first being fragmentary, the second incorporates the sounds from the beginning but with overlapping bands, and the final part is a crescendo of bands that culminates in the finale.

Recording of Bernadette Johnson's Corpo libero suono libero. This is a work for various concrete sounds and electronics and consists of 10 untitled movements.

Recording of Stanislav Kreitchy's Crazy Water. This piece is dedicated to the lives that were lost in the flood during the summer of 2002 in Europe. The composer used recordings of human breathing, water streams, ANS synthesizer, and "Ovaloid".

Recording of Pierre Boeswillwald's La création ; Madame !. This work was written for an openwork during the Synthèse Festival in Bourges, France.

Recording of Marie-Hélène Bernard's Dans les plis de la caverne. This is a work for tuba and fixed mediums. The composer references poet, Henri Michaux, when describing the thought process behind this composition. The composer was especially inspired by the poem "Le Grand Violon" where the violin is described as a "violin-giraffe".

Recording of Miguel Azguime's Derrière son double. The idea for this piece revolves around traveling between the two sound worlds of acoustics and electronics. The sound material from the computer is doing real time FFT analysis in order to interact with the acoustic instruments for sound processing. This work was composed for the Ensemble Recherche from Freiburg where it also premiered and was commissioned by "Casa da Música".

Recording of Edgardo Hugo Martinez's ...desde el desierto. This is a work for electronics.

Recording of Jon Christopher Nelson's Dhoomages. This work consists of a series of short electroclips that pay homage to three seminal electroacoustic works and the composers. The source sample for all three of these electroclips is a recording of a rather noisy door. Specifically, composers were invited to prepare short compositions that made exclusive use of a recording of a restroom door in Berlin. Three movements: I. Variation on a Door, Not a Sigh; II. I Am Sitting In A . . .; III. Waterrun.

Recording of Catalina Sanchez Bernal's Dialogue no. 1 pour trio et bande. This is a mixed work for flute, guitar, marimba, and tape. The sounds of the tape were created solely from children's toys and acts as accompaniment.

Recording of Eric La Casa's La dispersion d'un corps au crépuscule part 1-3. This work is based on recordings created by Joël Leick while in his workshop on Rue Norvins. The composer describes this composition as being that of a live canvas. We can follow Joël Leick in the creation of a work, from preparation to completion.

Recording of Guillermo Senn's Doble A. This work focuses primarily on the sounds of the bandoneon, inspired by the sounds of Buenos Aires and the tango. The piece also includes sound materials from two pieces by Astor Piazzolla.

Recording of Jonas Broberg's Drawn from a Reality. This work was commissioned by The Swedish Radio Broadcasting Corporation of Stockholm, Sweden. The main sound material used in this work was derived from an automobile being pushed forward along a floor. This sound was then processed and used together with purely synthetic sounds. The title has to do with different meanings of the word "draw" as in "to take from" and to "compose a picture".

Recording of Elainie Lillios' Dreams in the Desert. This is a work for electronics that centers around the sounds of water.

Recording of Claus-Steffen Mahnkopf's D.E.A.T.H.. This work is part of a cycle of pieces dedicated to the American writer, Thomas Pynchon, that combines ensemble music, a solo piece for cello, music for tape, as well as live-electronics. All sound materials used in this piece are electronically treated oboe-multiphonics.