Installations, drones, industrial noise and power electronics

Albums can be purchased on-line at Bandcamp or Sound Cloud & CD's are available for $10 by mail or $5 in person.








Turn out the lights, turn on the strobes and the fog machine, and play some drones.




New Installations

Synchronicity Mappings Audio Generation

New Sound Generators


Noise & Drone Tracks For Video Art

The Omen Project, 2001-2005

Early Performance Art

Coil Resonator 2001 - Noise Instrument

Early Sound-Art Installations

Sibyl - Early Recording


New Installations




Synchronicity Mapping and 4-channel audio installation

Synchronicity Mappings are a project that I started in the year 2000 while thinking about site-specific installations and the relationships that occur between the room/space and the audience.

Mappings are generated from the floor plan of the space by drawing lines along the alignments between and through the various aspects of the space: doors, windows, columns, corners, and other obstructions or relationships of space flow and site-lines.

Lines pass through (both sides) doorways, entryways, and windows; past columns, and any protruding corners or walls; and terminate as well as begin at any corners. 

Analyzing the crossings and voids that occur between all the lines we can find the ‘sweet spots’ within the room, defined by the occurrence of multiple crossings at the same place within any open areas of a room by the various lines generated, or by the lack or void of any crossing.

It is these zones of multiple crossings that are considered ‘Synchronicities’.

A further development of this project is the production of musical scores and or the generation of computer generated audio from these mappings.

Scores may be generated by overlaying the mappings onto music sheets, producing notes from the various aspects of the space, as well as from the occurrence of all synchronicity points.

Audio may also be produced directly from the mappings by running the mapping through on-line applications that generate audio from image files.

In producing audio files the lines produced in any mapping are separated according to the geometry of the room; a rectangular room would be organized around the use of 4 speakers placed in the 4 separate corners of the room, with the various lines assigned to one of the 4 zones created by the speakers.

Four separate audio files are then produced from these separate mappings and played back simultaneously and allowed to loop as desired.



Issue Project Room, Brooklyn

4-channel audio instatllation proposal, 2018



Fridman Gallery, NY

4-channel audio instatllation proposal, 2018



Microscope Gallery, Brooklyn

4-channel audio instatllation proposal, 2018



Cue Art Foundation, NY

4-channel audio instatllation proposal, 2018




New Sound Generators

Here are the wave forms from the coils above. The longer coil produces a primary wave of 2400 Hz very strongly as can be seen.

Below is the smaller coil.

Deep Black Sub Cube with alternate coil set up.


RAMSA feedback control system






Albums can be purchased on-line at Bandcamp or Sound Cloud

CD's are available for $10 by mail or $5 in person.


In A Dark Field, 2019

Maria Hernandez Park 17:30

Augus 18:02

A Drone 23:03

Project X, 2018

Project X, 28:38

Listen, 22:40

Listening Post, 2017

Listening Post, 49:57

Black Rain, 2017

Black Rain, 1:00:14

Black Mass, 2017

2 1/2 Minutes To Midnight, 43:04

Steel Showers, 36:28

Myrtle Broadway, 2016

Myrtle Broadway, 36:44

Melania, 2016

Melania, 36:29

Dark Stars Above, 38:04


New World Order, 2015

How To Stop Time, 20:00

There Is No End, 9:04

Death Rattle, 2015

Death Rattle, 13:42


Day Is Done, 27:51

The Code, 22:26




Noise & Drone Tracks For Video Art



Deep Black Void, 2007-15

Void, 24:41



Deep Black 12, 00:56

Deep Black 12, 00:56

Deep Black 8, 4:32

Nerve Scales 7, 7:16

Nerve Scales 1, 16:44

Deep Black Incantation

1999-2014, 33:00, 2-channel installation loop, stereo audio

Deep Black Incantation, AMOK!

9:00, 2006/7, installation loop, mono audio



The Omen Project, 2001-2005

layered electronics, Spring steel coils, cello bow and Boss DD-5 pedal, loops, odds and ends

1 - Space Transport, 16:04

2. Cain, 8:28

3. Beyond Space and Time, 2:48

4. Endgame, 7:19



Coil Resonator 2001

This is a musical device made with two different types of spring steel coils,
these are attached with screws and metal plates to a wood box.
The coils are played by either striking them or bowing them with a cello bow.
The vibrations are picked up using piezoelectric pick-ups and then processed with a DD-5 or DD-7 BOSS delay pedal.
When bowing the coils a type of chordal structure is created by bowing multiple coil segments at once.
Depending on the orientation of the amplifiers and the room structure reverberations feedback into the device
and and various sound effects can be produced such as standing waves and wave pulses.
The devise does not like to be run through secondary audio systems
which tend to overwhelm the system and the discrete and controlled production of its peculiar feedback.



Early Performance Art



Date: Mon, 25 Sep 2000 15:10:55 -0700
From: Jake Rodriguez <>
To: Bay Area New Music Discussion List <>
Subject: [BA-NEWMUS:1993] Review of NOISEFEST 2000 9/23/00
Saturday September 23rd NOISEFEST 2000 in Sacramento, CA
The day started off for us around 12:30 with GARY SINGH's ensemble which
included a bearded man in a skimpy bandleader outfit screaming through a
megaphone, and a mohawked man with a wooden springy weapon-like device
bowing the springs and the like with Singh seemingly mixing and effecting it
all.  Fun!  And they brought balloons!
  Next came a couple of hours of
sitting in a Taco Bell parking lot with the keys locked in the rental car
and the engine running, but, alas, a couple of bean burritos, a slimjim, and
a few greasemonkies later, and we were back at the fest just in time to
catch VERTONEN from Chicago who has various sheets of metal and wood that he
bows and scrapes into an infinite digital looping device, overlapping
sound-over-sound (I think it's called sound-on-sound in my box)--with rising
intensity and then pull the plug let everyone fall to the floor and kick
around the balloons for a bit (I blew up balloons bigger and bigger during
this set).  A few uninteresting (to me) techno-derived acts went on and then
a small gem called KLOWD who had a minimal setup involving a speaker, a
mixer and a long vibrating tube/microphone that he stuck towards the speaker
in order to make very interesting vibrating metal tube feedback sounds.  It
was short, maybe 10 minutes max and good yes, very nice length and was
enjoyed by those of us who caught it.  More or less interesting
techno-derived stuff and then up next was MOE!KESTRA! who set up outside on
the back patio with a large-ish ensemble of
winds/horns/percussion/bass/voice mostly acoustic and with two Butoh dancers
in front which proved to be the star attraction for me, as the dance was
fierce and slow, hugely grotesque, very upsetting.  The music seemed to play
off of the dance and vice-versa quite well and I found myself temporarily
forgetting the fact that Sacramento is infested with flies.  The wind/brass
section could've used a bit more umph for those sharp hits, but for a piece
scrambled together based on who showed up, I think it was quite focused and
bravo to Moe! for bringing some out some acoustic noise and for combatting
and coalescing with the metal band that was doing their standard four-song
sound check during the first half of the Moe!Kestra!'s performance in which
some of us positioned ourselves cleverly to capture the most amazing
post-punk psycho metal-accoustic performance ensemble ever imagined!  Up
next and finally was UBERKUNST, which quickly threw black tarp over the
entire (well, not completely) back patio and played music which I don't
remember because first out come these 4 Benny the Bumps (like in Residents'
Freak Show was Benny the Bump-a freak with a large extension of skin
protruding from the belly hidden underneath the shirt) and the bumps walk up
to the lead guy who cuts open the bumps and spills out blood and guts into a
homemade catapult and then catapults the blood and guts into the audience.
Then the lead Uber starts throwing blood-drenched vintage Playboy Magazines
out at the audience and everyone ran away screaming.  It was much fun mostly
because I didn't get hit by any blood or guts, and also 'cause this is the
guy who organized the whole event so I didn't have to feel sorry for the guy
who organized the whole event.  So we had lots of fun and somewheres in the
day THE BRAN (...) POS performed and it was also fun and even the locking of
the keys in the running car ended up being kind of fun too, although we did
note the lack of women noise performers as Moe's group was the only such
with such.


The Body Of Light At The Lab SF, San Francisco, 1999

This was a one night only performance instatllation. The room was covered in black plastic tarps, filled with fog, with twin pyramid light installations containing amplifier stacks and lights, a dream machine, a 2k strobe light, and various sound devices filling the space with drones.


The Messenger Service, Theater Artaud, SF, 1999



Early Sound-Art Installations

Archeo-Mnemonic Transduction Experiment (1997)

Critical Stimuli Response Test

Multi-channel immersive headset with dream-machine. (1997)

Speaker array for multi-channel drone play back. (1997)


Undocumented is an installation involving multiple tape-decks each with separate audio recordings for playback distributed around an architectural environment.



Sibyl, 33:31, 1995 with Joe Curcio (mixed media audio, Tascam 4-track recording)





© T. R. Pickerill- All rights reserved