Luciano Maggiore & Louie Rice – Synthesised voices and low frequencies to eat crisps with

Anything to do with crisps (especially Tyrells) gets our resounding support here at OTO. Two of the most mischievious experimentalists in our community - Louie Rice & Luciano Maggiore - share with us an extended piece cyborg text piece that acts as an instructory rhythmic prompt to munch on the salty snack. Florian Hecker has experimented with similar computer voicings before, but there's not quite anything comparable to this gloriously dry, candid and obscene opus. Concrete poetry for the flaccid digital age (and for fans of crisps).

"58 minutes of music assembled using recordings of an online digital voice synthesiser reciting an exhaustive list of permutations of the words NO PA PA ON. Pauses in speech are punctuated with a bass tone and could act as a prompt to eat a crisp."


Recorded by Luciano Maggiore & Louie Rice in Norwich and edited in London, 2020


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Synthesised voices generated using

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NO PA / PA ON is a performance series that started in Cafe OTOs project space and is often mispronounced.

1 - Synthesised voices and low frequencies to eat crisps with - 57:49


A project by Luciano Maggiore and Louie Rice performing score bases works - both acoustic (without a PA system) and amplified (with a PA system).

This project was originally conceived to perform works by other artists as part of an event series at Cafe OTO in London. The series acted as a research period informing the action-based pieces that we are now currently writing ourselves, these explore physical actions and vocalisations in response to automated lighting or diffused sound. These performances are site or situation-specific, most recently we have performed pieces for strobe lights and a sequence of actions at LUFF festival in Lausanne, and at Yarmonics Festival in Great Yarmouth.

We have previously explored historical Fluxus works at Live Arts Week in Bologna and Standards in Milan, this period led us to develop a series of performances that borderline on dance using very simple repetitive physical actions, these sensibilities continue to inform our work.

Having both developed separate solo and collaborative electro-acoustic practices, we continue to explore a shared interest in auditory phasing and an expansion of the spatialisation of sound beyond the stereo field, but aim to reach beyond the confines of electroacoustic music to develop a type of performance referencing conceptual and performance art, folk singing, dance choreography, minimalist composition amongst other things.