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2025 | 17:00 | Acousmatic | 7OA

aural allure is a composition centred on the act of listening. The work begins with a text written by the composer, then voiced and recorded in multiple languages. The voice becomes material and metaphor: a whisper that structures time, space, and emotion. It reflects on the experience of being transformed through sound, exploring how timbres and textures can alter perception, awaken memory, and bend space.

Developed over five years of creating and performing spatial music with the Hybrid Audio DiRusion System (HADS), aural allure brings together the composer’s sonic vocabulary. It synthesises favourite timbres, spectral processes, and spatial diffusion strategies; not as a retrospective, but as a conscious immersion into a sound world chosen for its intrinsic aesthetic pleasure.

Born in Mexico City and based in Vienna, Enrique Mendoza is an electroacoustic composer and performer working with spatial audio, immersive listening, and multichannel sound practices. His work explores perception, memory, and transformation through listening, combining fixed-media composition, and live electronic processes. He works extensively with ambisonics, binaural audio, analog & digital synthesis, and large-scale multichannel systems, developing pieces that adapt to specific architectural and listening environments.

Since 2019, he has been a professor at the National School of Cinematographic Arts, UNAM, MX. Enrique holds a Master's degree from the Conservatory of Amsterdam. He is pursuing a Doctor of Arts degree at the Anton Bruckner University (Linz, Austria), where he also lectures on Electroacoustic Music since 2021.

2025 | 12:00 | Acousmatic | 3OA

Mmabolela is a sonic snapshot of a waterhole at dusk on the Mmabolela Reserve in South Africa. On the savannah of the reserve, the waterhole represents a gathering place for the wildlife that roam the land. As the heat of the day recedes, each species finds its space and @me to take part in the life giving hydration collected within the pool while being alert to others approaching. It represents the duality of a safe place of congregation alongside an exposed area for predators to strike. Mmabolela is an evolving soundscape of the wildlife and surrounding habitat within the reserve suggesting the choreography and interaction of its inhabitants enjoying the life giving resource and continuing their journey through the land.

American caviardage

2025 | 7:14 | Acousmatic | ATMOS

The word "caviarder" has no equivalent in english. It can mean "censore", "remove", "blue-pencilled", "marked unreadable", "cut", "redacted", "block-out" and so on. The term "caviar" derives its name from the figurative expression "passer au caviar" (to go to caviar). This expression is thought to have originated from an analogy between the black color of caviar, a delicacy originating in Russia, and the black ink blots frequently used to censor texts during the reign of Tsar Nicholas I.

What's interesting about this term is that it aptly highlights the attempt to suppress something—the comprehensibility of passages of text—by adding something else, a graphic element that ultimately acquires a visual quality of its own. The result is an accumulation of signs, a general blurring, which overwhelms what little remains of legibility and causes it to lose its meaning.

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Sur un ciel changeant

2025 | 9:14 | Acousmatic | 5OA

The sky stretches out, vast and clear, a light blue streaked with white. The clouds, wispy and ever-changing, drift slowly, frayed by the wind. They play with the light, in golden bursts or soft shadows, in grainy or torn flows, like a breath suspended between day and eternity.

This piece revisits the idea and even some of the sounds of "Étude de ciels," composed in octophony in 1991. Its volumetric space, this time spanning 80 channels, allows for subtle manipulation of micro-shifts in matter and space, slow evolutions of color and thickness that belong simultaneously to the realm of the imagination and the senses, transposing the space of distant vision into that of tactile immersion.

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Rouge manège

2025 | 4:47 | AudioVisual | 5OA

The world's merry-go-round, grinding, grinding, grinding...

clipping. – Blood of the Fang (remix by Force Majeure)

2024 | 4:42 | Acousmatic | ATMOS

This Dolby Atmos remix of a track from the clipping. album There Existed an Addiction to Blood (2019) combines original recordings, sampling techniques and analogue synthesis for a technoid remix that still shows devotion to the original material.

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Inhospitable Planet

2023 | 3:28 | Acousmatic | 5OA

This track comes from unreleased album The Permanence of Decay, for which every piece contains a unique hardware instrument and performative workflow. The album has been mixed for binaural or full ambisonic playback, creating a bridge between immersive digital audio and the raw analogue and electroacoustic source material.

The foundation for this piece is a field recording from a frozen forest on the outskirts of London. This was largely unedited and added to with sounds created by physically playing a spring reverb tank through a Behringer Neutron semi-modular synth. In a nod to the Forbidden Planet soundtrack that filled me with awe as a teenager I added some burbling synth noises from the Make Noise 0-Coast in a form of Krell patch.

Force Majeure started off as a side project from Cardiff-based audiovisual artist Nick Ronin in 2019 but he soon found himself diving deeper into this uncompromising and dark sonic universe. Each of his two albums focus separately on sampling and synthesis to create an electroacoustic palette with which to paint unsettling and fragmented landscapes that he describes as ‘The sound of the earth coming apart at the seams; nature turning against its aggressor’.

An experimental and electro-acoustic approach also colours his EP on Grey Meta that features four heavyweight takes on contemporary techno and an audiovisual piece. His live performances – that include audiovisual, quadrophonic and full immersive setups – have grown in complexity and employ a rag-tag array of hardware devices held together with digital processing and gestural control.

Force Majeure is a new milestone in the artistic career of someone born from the British underground rave scene. His background provides the knowhow to build a visceral live show that makes full use of the sound system.

2021 | 12:40 | Acousmatic | 5OA

Do you have a sore throat? A bad cold? Did you have too much to drink last night? Is the voice shot and the respiratory mechanism in shambles? The idea came through in the darkest time of year when the composer suMered from most of the above and the sound environment of broken respiratory- and speaking mechanisms surrounded and obsessed him for a good number of days.

Lidan is an Icelandic word for the state of one’s health. The original Lidan was not finished properly for the given deadline. Taking two resulted in a pretty drastic reorganization of the whole thing. Hence the title; Lidan II.

The work was done almost entirely using the Kyma/Capybara system at the Kopavogur Computer Music Centre in Iceland in the darkest part of winter.

Time passes, and in 2011 the piece was slightly re-worked and re-mixed into more channels than the original version. Then more time passes and in 2021 it is re-mixed once more, this time around totally re-mixed from scratch, now into 3D ambisonics total surround format.

2024 | 6:42 | Acousmatic | 7OA

Hollow Point is a fixed media composition exploring layered resynthesis techniques. Field recordings are split into individual layers using automated processes that aim to separate the original files into musically relevant parts. Each layer sounds “thin” or “hollow” due to the imprecise nature of these algorithms, with artifacts often remaining. However, when all layers are combined, these imperfections cancel out, recreating the original audio. By keeping the layers separated, they can be individually processed, resulting in new textures and spatial effects that are difficult to achieve with the source file alone. Exaggerating these artifacts can generate new musical motifs and materials. These layers also provide fresh input for musical agent software to rearrange, creating multichannel compositions that differ significantly from those based solely on the original recordings. The piece enhances micro gestures and inner structures, making them more detectable for machine listening systems.

2024 | 4:00 | Acousmatic | 3OA

Orbital Harmonics is a spatial electroacoustic work that explores the perception of musical motion within a continuously rotating acoustic field. Rather than presenting fixed musical gestures, the piece unfolds as a slowly evolving sonic environment where harmonic structures circulate around the listener, creating the sensation of sound as a moving architecture.

Artistically, the composition imagines harmony as an orbital system. Chords behave like celestial bodies that drift, intersect, and align in a dynamic spatial constellation. The listener is placed at the center of this field while melodic fragments revolve overhead and around the horizon, producing a fluid experience of motion and immersion. A deep bass layer acts as a gravitational center, anchoring the otherwise mobile harmonic landscape and providing a sense of orientation within the rotating sonic space.

Technically, the piece is generated through additive sine synthesis driven by a repeating harmonic progression. Notes are rendered with randomized phase offsets and micro-frequency variations to prevent phase cancellation and to produce a dense, evolving texture through extended overlaps. The resulting signal is encoded into third-order Ambisonics (16 channels) using a phase-stable AmbiX formulation, allowing smooth spatial trajectories in both azimuth and elevation. Energy-preserving normalization maintains a consistent spatial image, ensuring the rotating harmonic field remains stable and immersive throughout the work.