Recording of Michèl G. Koenders' Helmet & sling. This is a work for trumpet and computer that has been composed for 4 tracks. This is the last piece in the composer's work "Armamentscycle" which includes three pieces for solo instrument and computer. It was commissioned by Theater Kikker for their reopening in September 2001. The composer describes this piece as a so-called "Algorithmic composition" in which complex calculations are used to form the basis of the pitch, dynamics, and duration of the notes while keeping much of the sound manipulation in the hands of the performer.

Recording of Bernard Donzel-Gargad's Hier, aujourd'hui et demain peut-être... This work is for electronics and pre-record sound. Each sound undergos an individual transformation and differing sound effects.

Recording of Gabriel Poulard's Homo Mutus. This is a work for electronics that includes various concrete sounds. When discussing this work, the composer references the difficulty of communication.

Recording of Adrian Moore's Horse with shouting. This is a work for electronics and is the fourth piece in a song cycle called "Sea of Singularity". This song cycle explores the interrelationships of sound and was influenced by the theories and artworks of the Fauves which question the emotional experience with intense color.

Recording of Gabriel Poulard's Humanhiver. This is a work for electronics and was written after the war in Afghanistan.

Recording of Adrian Moore's In paradisum. This is a work for electronics and is the sixth piece in a song cycle called "Sea of Singularity". This song cycle explores the interrelationships of sound and was influenced by the theories and artworks of the Fauves which question the emotional experience with intense color.

Recording of Paolo Besagno's In purissima luce. The composer states that this work is a requiem for his friend, Franco Nocentini, and comes from the image of his friend feeling free and joyful.

Recording of Scott Wyatt's In the Arms of Peril. This is an electroacoustical work designed for 8-channel performance and was created within the University of Illinois Experimental Music Studios. This work explores the confrontations and challenges that we experience in our lives as well as the persistent search for relief.

Recording of Marc Beugnies' Incidences et Réflexions sur la naissance d'une Etoile. This work is based on the principle of a correspondence between astrophysics and sound art. It evokes the birth of a star comparable to the sun and follows the timeline of its evolution in space.

Recording of George Budd's The Industry of Opposition. The composer describes this work as a study in varying degrees of mediation and the effort to overcome it. The majority of the sound material in this piece was generated by manipulations of the vocal reading.

Recording of Jean-Marc Weber's Inner Voices. This work is made up of concrete sound samples that have been both modified and occasionally left in their raw form. The composer states that the progression of modifications is meant to reflect the sounds of inner voices/pathways.

Recording of Katharine Norman's Insomnia. This work was inspired by the composer's own experience with insomnia as well as Sylvia Plath's poem 'Insomniac'. This work was commissioned by New Noise in 2001 and recorded on their CD, Insomniac.

Recording of Mei-Fang Lin's Interaction. This work is the composer's attempt to bring the world of acoustic instruments and electronics together. The piano and electronics call to and depend on each other to create the whole picture of the piece.

Recording of Giuseppe Di Giugno's Intersezione 01. This is a work for electronics that includes sounds of robotic voices. The composer of this work is known for his work as both an inventor and physicist. During the early 1970's he turned his focus away from particle physics and began working on electroacoustics and digital sound.

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 Florivaldo Menezes' L'Itinéraire des Résonances. This work was commissioned by the instrumentalists Verena Bosshart, Ricardo Bologna, and Eduardo Leandro. The work as a whole focuses on the dynamic of an "attack" and its responding resonance. The general form of the work is based on 6 moments of Attack/Resonance and uses a harmonic technique that the composer calls "dynamization of the harmonic density".

Recording of Beatriz Ferreyra's Jazz't for Miles. The composer states this work is a tribute to one of the greatest jazzmen of the 20th century, spilling over into the third millennium.

Recording of Mario Verandi's Je ne suis pas d'ici, je suis de passage. This work was commissioned by Césaré Studio de Creation Reims and premiered at the Passage Subé, Reims, France. This piece consists of recordings of passerby's answering the question "où se trouve le passage subé?" and explores issues such as orientation and disorientation. The composer also wrote this to encourage the citizens of Reims to experience their own city from a different perspective.

Recording of Pierre Couprie's Jukurrpa - Quatre Rêves. This is a work for electronics and includes various concrete sounds.

Recording of Paavo Impio's Kaleva. All the sound materials used in this work were collected from the "Kaleva printing house". The composer was fascinated by the collaboration and synthesis of the factory ambience and decided to make the composer entirely out of organic sounds. The composer recommends listening to this piece reasonably loud.

Recording of Wes Richard Wraggett's Kali's Cut. This is a work for electronics.

Recording of João Pedro Oliveira's Labirinto. This is a work for tape and string instruments and was commissioned by the Gulbenkian Foundation. The piece itself was inspired by the concept of a maze and the idea of a man getting lost inside it.

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 José Iges' Leccion de retorica. This work revolves around the composer's interest in the problem of rhetoric which includes the works of musical Romanticism and those of the piano. To explore this idea, the composer used samples from a recording of Brahms' “Variations on a Theme of R. Schumann, Op.23”. The composer followed the example of the works Amici della Musica di Cagliari and Ricercare.