Advanced Environmental Control (Trente Oiseaux, 1995) collects some of his early soundtracks, preoccupied with room acoustics and sound textures, besides the three-movement title-track. He then added computer-based composition and feedback-based devices to his arsenal, and field recordings became the main source of inspiration. Compendium (1998) collects recordings of the previous decade, while Final Ballet (Rastermusic/Noton, 1998) is music for an imaginary ballet. Contraction (Digital Narcis, 1998) contains very intense music, while Four Installations (Trente Oiseaux, 1999) focuses on sparse, minimal sonic events.

Elapsed Time (Intransitive, 2001) and Transition (Edition, 2001), released as 2 mini-CDs, veered towards cacophonous collages of highly-charged musique concrete (in both cases derived from old tapes of field recordings). Elapsed Time would remain his most emotional work.

The glitchy micronoise of Integracao (Sirr, 2002) was the result of a series of installations during which Behrens kept refining some field recordings. Here, silence prevails over movement.

A Szellem Alma (Absolute, 2004), also known as Laermschutzlandschaft, is a collaboration with Francisco Lopez

The main piece on Animistic For Donatella (Auf Abwegen, 2005) is another of his haunting and subtle electronic soundscapes built out of ordinary sounds.

Nikolaus Heyduck and Marc Behrens began collaborating in 2000. Their first two performances used plastic wrapping and bottles. The next two used two self-made metal instruments. Another performance in 2003 "played" wine bottles, water, bricks and metal objects. Plastic Metal (Antifrost, 2005) documents their ideas.

Hades (And/OAR, 2007) is a collaboration with Paolo Raposo that employs field recordings to compose a soundtrack to the legendary crossing of the river that leads to the underworld.

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