Recording of Guillermo Acevedo's Puntos de Partida. This is a work for electronics that was included in a project published by Laboratorio Arte Alameda and curated by Manuel Rocha Iturbide and Israel Martínez. This project ran under the name "Electroacoustic Mexico 1960-2007" and highlighted various Mexican electroacoustic works and artists.

Recording of Marcelo Ajubita's The Alban Berg Album. This is a work for electronics that includes train sounds and samples of violin.

Recording of Marcelo Ajubita's The Cemetery of Lucifer. This is a work for amplified string quartet, electric violin loops, and percussion. It represents the place of the living dead which the composer describes as "the culture officials of all governments".

Recording of Leopoldo Amigo and Miguel Molina's Mensaje Electroacustico de Navidad de S.M. a la Nacion. This work was created from a voice that belongs to a hypothetical King who is subliminally transmitting a message to the audience on Christmas Eve. It is meant to be broadcast on December 24th to families in front of the television.

Recording of Jadel Andreetto's Slow Motion Tarantula. This is a work for electronics that includes German spoken word and flute.

Recording of Sophoklis Arvanitis' Inclination. This work is meant to expose the listener to artificial sound spectra and artificial expressive gestures and space. The recorded material included in this composition was produced from the mixture of two or more objects; some are small metallic objects, natural materials, ceramic, and glass. Each material used has its unique characteristics and those are used to create new and interesting sounds that elaborate the composition.

Recording of Per Arvidsson Bremmers' Derivative four - The Lore of Posterity. This work was written for electronics.

Recording of Daniel Barreiro's (Un)folding. This is a work for electroacoustic sounds that uses sounds of paper as its main source material. This piece can be thought of as showing different points of view of an object that moves and changes its form during the unfolding of time.

Recording of Alain Basso's Meca mecanica. This work was created as part of the Bourges 2004 Synthèse Festival. This work combines two types of sounds: themes of Western music which include the flute, orchestra, violin, and barrel organ, as well as oriental themes. The title was derived by the idea that instruments themselves can be defined as a type of mechanism which is used to create sound.

Recording of Roald Baudoux's Improglio. This work contains collected voice samples from a previous improvisation collective called "Inaudible". This composition takes its unity from the material's vocal origin which in this case is vocalist Jean-Michel Van Schouwburg.

Recording of Julien Belet's L'arracheuse de poussière. This is a work for electronics that the composer describes as a "voluntarily unfinished piece of poetic character" with children's voices whispering.

Recording of Paolo Besagno's Normalmente, due. This work is an homage to Mr. Jacquard and his loom. The score was written with rows and columns in order to maintain the concept of the loom. The composer describes this piece as "a word game".

Recording of Massimo Biasioni's Inside the pipe. This is an electronic work whose main sound material includes the flute and "slaps" of the basset horn. The form of the piece is a path leading from the slaps of the basset horn to those of the flute; moving from the pipe of one instrument to the pipe of another.

Recording of Andy Birtwistle's Bambo intervention. This piece explores the ideological space between the bamboo flute and the tape recorder as well as between Western desires and Eastern traditions. This piece is structured around binaural soundscape recordings made in rural Taiwan. These field recordings stress authenticity of performance and the importance of location.

Recording of Marcus Bittencourt's Rabo-de-Arraia. This work was composed under the theme of "Les Maitres Sonneurs" and shares some folk traditions of Brazil. The idea of this work comes from several of the composer's memories of watching capoeira circles which acts as a martial art, dance, sport, game, and musical event. The ensemble of capoeira musicians in this work was recreated by computer algorithms.

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 Lars-Gunnar Bodin's The Enigma Machines. The inspiration for this piece came from the composers fascination with the sounds produced by mechanical devices and machines and the often impossibility of figuring out what the machines actually manufacture. The composer lends this idea to the concept that one should learn to listen to sounds without taking into consideration their production "history". In this composition, the composer has attempted to create or imitate sounds from imaginary "mechanical" objects.

Recording of Pierre Boeswillwald's La Wal-Manichette. This work was premiered during a Synthèse Festival in Bourges under the appearance of a parody of a cultural radio program. The concept behind this work is "creation" and acts as a theatricalization of sound which is strictly in the domain of electroacoustics.

Recording of Leif Brush's Earth-Star Songs. This work is considered a "stitching" of sounds and recordings taken from an array of the composer's analogue constructs and terrain instruments. These recordings have been paired with recordings produced by Jerry Chamkis' Kosmophone. The result is an inexhaustibly complex amalgamation of hard-edged terrestrial and tactile phenomena contrasted by cosmically sourced retro-futuristic synth interjections.

Recording of Matthew Burtner's That which is bodiless is reflected in bodies. This is a work for electronics that was created for 8 mono-tracks. The composer has included speaker schematics for live listening.

Recording of Miroslav Bázlik's Primordial Envelope One Of J.S. Bach's Fugue. This work is dedicated to famous Czech topologist and the composers teacher, Miroslav Katetov. This is an electroacoustic immersion into Bach's fugue by means of basic prime number structure.

Recording of Martin Bédard's Radiuum (topographie de la noirceur). This is a work for electronics.

Recording of Werner Cee's Maschinerie der Polarlandschaft. This work is a remix of another song by the same name that was produced for DeutschlandRadio Berlin. For this piece, musicians were invited to record in a water reservoir recorded in multi-channel sound. The composer states that this piece can be viewed as a soundscape due to the emphasis on the relationship between the musicians and the location.

Recording of Kyong Mee Choi's Sublimation. This is a work for marimba and two-channel tape. The piece represents the composer's idea based on the several dictionary definitions of the word "Sublime".