NPFAI.1/PALMOS/NPFAI.3/PRAXIS (Pogus, 2006) collects four of his electro-acoustic pieces: NPFAI 1 for kundi harp, mbira piano and computer; the 33-minute droning sonata Palmos for Hammond organ, oboe, bandoneon and digital processing; NPFAI 3 for marimba and computer; PRAXIS for male choir, tape and computer. Each one explored different facets of sound, using the computer to create a focus for the listener. Basically, Voudouris' post-processing hijacks the mind of the listener so that it will listen to specific aspects of the sound and not to what would normally be its center of attention. In a sense, it also hijacks African music, by turning its traditional instruments into sources of emotions that are antithetical to the original spirit.

Pogus 21056 (Pogus, 2010) compiles four works. The free form electronic poem A Alpha Theta= Phi (2008) indulges in extreme cacophony derived from text-to-speech synthesis and performed by an interactive robotic ensemble. It is swept by terrifying winds and, at its emotional peak, it sounds like a harrowing inferno of damned souls. Towards the end it decays into a humbler flow of electromagnetic effects akin to vintage musique concrete. The 28-minute ONTA (2005) for voice and electronics is a bit too disjointed to become intelligible. The narrative, pictorial and emotional elements coalesce after 13 minutes in a digital swamp. Slowly alien birds emerge from the torpid atmosphere. They populate the airwaves with their loud sharp calls and, when the chaos subsidez, they rule over the wasteland. The second half of this piece is a formidable example of evocative computer music.

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