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

Recording of Dominique Schafer's Redshift for 4 channel tape. This is a work for electronics.

Recording of Luisa Ventura's Refraccion. This work is based on the "malambo", an Argentinian folk dance that includes masculine dance forms and various accompanying instruments. This piece is an electric malambo and is the third that this composer has created. It is a nostalgic work that highlights times of bravery, patriotism, honorability, and true progress. Sampled sounds of bass drum and guitar are used.

Recording of Elsa Justel's Un regard sur la ville. This is a video that includes an accompanying electroacoustic composition that was created by Justel as well. This work is based on photographs of shop windows in the city of Paris and its suburbs. The visuals are distorted in nature and are meant to represent a transformed reality into a fantastical world.

Recording of Pavel Kopecký's Ritorni. This is a work for clarinet and electroacoustics. In order to create the richest unity between the two sounds, the composer formed the electroacoustic base entirely from modified clarinet samples. At the concert performance the sound of the soloist is recorded with a microphone and modified by a sound processor.

Recording of Hans Tutschku's Rojo. This work was commissioned by Rundfunk Berlin Brandenburg and is dedicated to Jonty Harrison. The composer describes this work as an imagining of simultaneous musical activities throughout the world. Sound materials include recorded memories from several trips. As the piece unfolds, the composition creates an imaginary ritual where many sources meet and play together.

Recording of Antonio Ferreira's A Romance of Rust. The composer states that rust can be seen as a metaphor for time's arrow or a well-worn image about the perceived flow of time in music. The decay of materials correlates to the decay of sound objects and gestures in our memory while we listen intentionally to some piece of music. This piece was commissioned by Miso Music Portugal.

Recording of Jos Janssen's Saluang. This piece was created on the basis of the saluang flute playing of the people of North Sumatra in Indonesia. Saluang playing is a very meditative way of playing with the technique of circular breathing. This work was originally made for Teresa Birks, a human rights watcher in Indonesia.

Recording of Anna Maciejasz-Kamińska's SANmutinD. This work explores the idea of transformation of time, history, inventions, etc. The composer points to the mystery of electroacoustic sound structure and the in-depth contact with the inside of the music matter. The composer has used a folk melody that comes from the Podhale region as a decorative motive.

Recording of Bernadette Johnson's Scyntillisuisse. This work explores the sounds of Swiss instruments, specifically from the areas of rural Switzerland. The composer compares their use of technological instruments with the discovery of fantastical creatures.

Recording of Pete Stollery's Serendipities and Synchronicities. This piece was commissioned by the Reeling & Writhing Theatre Company, Glasgow as part of Standing Wave, a play about the life and music of Delia Derbyshire. Like the play, the composer of this piece wanted to create something which derived from Delia's work in the 1960s. Much of the material in this work comes from feedback loops that were created years prior when the composer worked with analogue resources. This work premiered at the Tron Theatre, Glasgow in October 2004.

Recording of Panayiotis Kokoras' Shatter Cone. This is a work for violin and electronics and was commissioned by the MATA Festival 2004 to be performed by Mari Kimura. The title refers to the way the sound of the violin is formed into sonic structures from the impact of the bow's pressure, speed, and position on the strings in combination with their register. The pre-recorded material comes only from violin sounds, transformed to keep the gestural and spectral data of the original sound while losing reference to the original.

Recording of Ruth Glatt's Simmelibärg transfiguration. This work follows the contents of an old popular Swiss folksong, "Guggisberglied". This song tells the story of a mountain which stands as an obstacle between two people in love. The composer has used this folksong and transformed it to explore the idea of what humans and machines have in common.

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

Recording of Alain Lithuad's Soanne. This work was created as part of an open work project for the Synthèse project under the theme "Les Maîtres Sonneurs". The main sound source used in this work is an accordian which has been electronically transformed.

Recording of Danny MacCarthy's The Soundmasters Farewell to the Island. This is a work for electronics

Recording of Gustavo Delgado's Sounds coming from the inside of.... This work was created as part of the Synthèse festival. It combines the sounds of four instruments from the highlands folk music of the South American continent: güiro, maracas, bombo legüero and pandereta. A processed sample of human voice was also used in an attempt to create a musical gesture of a possible Latin-American Indian melody. The composer intended for this piece to give the illusion of sound objects growing from inside of the acoustical instruments and vice versa.

Recording of Chris De Chiara's Southern Mosaic. This work is a sonic montage constructed from field recordings of American folk music made by John and Ruby Lomax in the southern US in 1939. The composer states that the Lomax's are perhaps the most important American ethnographers of the 20th century.

Recording of Agnieszka Waligórska and Pekka Siren's Stilleben in Cracow. This composition was inspired by the city of Cracow which has been badly polluted by Nove Huta steel, however the inhabitants are dreaming of wind and birdsong. This work contains the sounds of birds, water, and the flute.

Recording of Martin Neukom's Studie 18.8. This piece is part of a collection of small movements that each represent a different variation of sound distributions. In this work, the generated sounds are repeated with increasing amplitude and duration.

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".

Recording of Haruka Hirayama's Swallow. This work was created for soprano saxophone and a live computer. The various timbres of soprano saxophone creates the significant contrast throughout the piece. Transformed instrumental sound from the computer supports the virtuoso of the soloist.

Recording of John Mickel's Symphony No. 1. This work was created through the use of spectral mutation audio processing techniques, in which the spectral components of sound files were combined to produce new frequency spectra. This work consists of three parts that follow one another in succession with little pause between. All featured material was derived from identical or similar source sounds. Although suitable for any performance environment, this work is suited for desktop audio, especially in conjunction with a sound visualizer program.

Recording of Stefano Trevisi's Tabula irrasa. This is a work for tape that was inspired by the composer's experiences on trains crossing the Po Valley. While travelling, the composer found himself focusing on the landscape and drew inspiration from the fields, farmsteads, hedges, etc. The materials that have been used are based on the sounds of the language spoken by the river. The composer thanks Italo Formigoni and Wainer Melli for their helpfulness as well as the Istituto Mantovano di Storia Contemporanea for historical audio documents.