Abigail Toll (UK/DE) is a composer,-researcher whose psychoacoustic sound-worlds are a “beguiling concoction of abstract minimalism, pensive drone and thrumming electronics” (Boomkat). Her artistic research focuses on the anarchic sonic potential of datasets, ancient landscapes and psychoacoustics. Matrices of Vision is the title of her debut record which was released in September 2023 on Shelter Press. It was originally premiered as an ensemble performance, featuring Rebecca Lane, Lucy Railton, and Evelyn Saylor at KM28, and Klosterruine with KW Institute of Contemporary Art in Berlin. It was described by Bandcamp as “40 exquisite moments” and GRM: Radio France as “a fascinating record – hyper concentrated on [Toll’s] academic training which loops back to a kind of exorcism.”

Upcoming releases include:

'Despair Rituals' (Tranceversal Voices) – collaboration with cellist Helena Espvall
‘Lilith’ (Repulse Xplosif) – collaboration with Turi Leng Seong Agostino

Extended bio

Toll studied English Literature and Art History (BA) at Sussex University (Brighton, UK), Electroacoustic Composition (MA) at KMH–The Royal College of Music in Stockholm (SE) and is the recipient of numerous scholarships. She was an artist in residence for the Amplify Berlin programme in 2018 with Caterina Barbieri and Maya Shenfeld, shortly after which she released her first EP Old World | New Ruins in 2019 under the moniker Ionian Death Robes. She is an artistic programmer for Tranceversal Voices – a new experimental event series, and at HOLON – an interdisciplinary format exploring the social discourse between art, music, design and emerging technologies. She presented a collaborative exhibition exploring data and co-creation with Stina Baudin for the series Rehearsing Moves on Hazy Paths in 2023. Her work and performances have been shown at: Heart of Noise (Innsbruck, AU); Gibanja, Kontejner (Zagreb, CR); tekhne, GMEA (Albi, FR); Casa del Popolo (Montreal, CA); Klosterruine; KW Institute for Contemporary Art; ZK/U; Kunsthalle Gent; The Lucerne School of Music (Lucerne, CH); LAS – Pawilon (Poznan, PL); Volksbühne (Berlin, DE); Swedish Association of New Music Promoters, (Gävle, SE); l’Ancienne Belgique (Brussels, BEL); The Drone Society (London, UK); Lisa (Lisbon, PT); UT Connewitz, (Leipzig, DE); Arttheater, (Cologne, DE); and with Tiara Roxanne at re:publica (Berlin, DE), Images Festival (Toronto, CA) and AMOQA (Athens, GR) among others.
Mark