Recording of Elsa Justel's L. This is a work for electronics that includes spoken word and sounds of a string instrument. The inspiration for this piece comes from Epicurean concepts which were put into poetry by Lucretius.

Recording of Andy Birtwistle's Balloonarticularity 80. This work was inspired by Jules Verne and his novel, "Around the World In 80 Days". This piece plays with the possibility of that book being a futuristic novel, rather than a piece of 19th century literature. In this piece, a Victorian traveler journeys into the future of the present, listening for differences in an increasingly homogeneous world. This work for electronics includes balloon sounds the and sounds of counting numbers in French.

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 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 Pierre Boeswillwald's Le long voyage du professeur Romuald Hochking. This is a work for electronics that includes French spoken word. The piece tells a story about a professor taking a long trip to space.

Recording of Charles-Édouard Platel's Le narval électrique. This is a work for electronics that includes French spoken word and is dedicated to French writer, Jules Verne. This piece in particular was inspired by the book "20,000 Leagues Under the Sea" by Verne. This work was created as a contribution to the Synthèse Festival open works project under the theme "Mondes futurs, automates et machines pour s'y projeter".

Recording of James Duhamel's La Radeau. This is a work for electronics that includes French spoken word.

Recording of Stephan Dunkelman's Triodes I. In this work, the electroacoustics lay the foundation for the instrumentals to be created upon. The electroacoustics build upon the raw instrumentals. This work includes 8 tracks for separate speakers.

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 Miklos Sugar's Chansons françaises n°2. This is a work for electronics that includes the instrumentation of flute, violin, cello, and soprano voice. This piece was inspired by the poetic world of Samuel Beckett and the composer attempts to recreate his themes with short musical movements and motifs.

Recording of Roderik De Man's Cordes Invisibles. This work was created by request of Doris Hochscheid and Frans van Ruth, it was also commissioned by the Fund for the Creation of Music. The text spoken in the work was written by the composer and refers to the ideas expressed by the German philosopher and psychologist, Carl Stumpf. His ideas explained that while listening to music we may not always be able to follow the structure of a piece, however, our subconscious understanding compensates this.

Recording of Hervé Déjardin's Evolu-Son. This work was created as part of the Festival Synthèse under the theme "Les Maîtres Sonneurs". The composer used recordings of the mechanical work of an artisan-weaver with more traditional music of village festivals mixed in.

Recording of Sébastien Roux's Un grand ensemble. This is a work for electronics that includes English and French spoken word.

Recording of Olivier Labbe's Inside a visit. This work was created as part of an open work project for the Synthèse Festival. The composition is a digital multi-track montage based on recordings made in an artist's studio within an industrial wasteland. These are random recordings of a demo of drum exercises, radio waves, radio broadcasts, and repetitive vocal cycles.

Recording of Etienne Saur's Jeu de carte. This work was created for the open work project as part of the Synthèse Festival. This work is meant to celebrate the bicentenary for George Sand by using a computer playing traditional instruments. Sound material that has been used in this piece includes: music box sounds, barrel organ, and sound card for the computer.

Recording of Peter De Moncey-Conegliano's Nuit Electronique opus 33. The composer states that this work was inspired by intimate memories from the last night of the Bourges festival 2003. He describes this piece as a "kind of cosmic electroacoustic jukebox quiz".

Recording of Frances White's The old rose reader. This is a work for electronics that includes spoken word and flute performance. This recording includes two tracks, one for tape only and one with tape and flute.

Recording of Yves Daoust's Temps Fixé. This work was commissioned by Media Arts Networks with the help of the Canada Council for the Arts. This work was inspired by a visit the composer made to a singer friend who now, as an elderly individual, lives in an assisted living facility. The composer was struck by the vision of "a worn man, deteriorated by time". The work represents not death but the idea of time and the unstoppable nature of it through the lens of a singer frozen in time at the height of their career.

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 David Behar's and Xavier Gipulo's Apte. This is a work for electronics that includes samples of electric guitar and French spoken word.

Recording of Candy Trash's Artillerie lourde. The composer wrote this piece with the idea of parenting in mind and separates the work into two parts that represent "father" and "mother" respectively. This piece showcases both the heavy weight of responsibility that falls on parents as well as the joy and support of family. The work has been segmented into 5 separate tracks.

Recording of Claude Hermitte's Au nom du père. This work was created as part of the open work project at the Synthése Bourges festival in 2003. It is meant to incapsulate the sounds that are heard from a newborns perspective. The voices of their father and mother and how these first sounds create the newborns first impressions of the parents.

Recording of Maxime Benoist's Creusement de l'être où surgissement de l'incontient de la forme et la chaire. This is a work for electronics that includes samples of French spoken word and nature sounds.

Recording of Jacqueline Ozanne's Les destins d'une berceuse. This work includes vocals and spoken word with text from the French lullaby "Fais dodo". The composer has also included segments from Beethoven's 5th Symphony and melds together these two songs under the theme of "destiny".