- SKRONK 52 digital (Skronk 2018)
- SKRONK 51 digital (Skronk 2018)
- The noiZz & the Cities - London digital (A NEW HAI 2018)
- Bad Taste vol.ii - another collection of sounds from the NZ underground cassette/digital (Chemical Imbalance 2018)
- SKRONK 45 digital (Skronk 2018)
- 1 minute autohypnosis 41st CD cd/digital (Mute Sound 2018)
- 12 14 16 18 20 22 2 cassette/digital (Sofia Records 2017)
- Sonic Comic book/digital (Sonic Comic 2017)
- Trust Is a Spectrum - a Big Sleep Records compilation digital (Big Sleep Records 2017)
- 290416 cdr (Don't Fuck With Magic 2016)
- Flora digital (Dog Park Records 2016)
- Dada Sounds digital (Cities and Memory 2016)
- Semiotic Recipes - VHS Compilation Series Vol I vhs (CCR 2015)
- Piezoelectric Music Vol. I cassette (CCR-050 2015)
- Rejection dryrot ripple Gombage digital (Postmoderncore 073 2014)
- WLD 2014 - Directions digital (Sonic Terrain 016 2014)
- Incredibly Hot Sex with Hideous People: My Life With Madonna cd (IHSWHP 2009)
- Incredibly Hot Sex with Hideous People: My Life With John Lennon cd (IHSWHP 2006)
The Doll has been making no-fi sounds since 2005. She likes to augment her vocals with contact mics, balloons, magnetic tape, percussion junk, garbage from the side of the road, horns, household appliances, a T-Pain mic, & field recordings. She enjoys Cool Edit Pro on an XP craptop.
The Doll also plays in Seattle bands TBA & PUNTERS (noise improv), Auckland band Septithe (BBQ Doom), and London-based duo Unknown Tofu (improvised percussion). Her US/Aotearoa collective noise project, Contact Mike, co-founded with Biled Will and Unknown Rockstar, has over 40 band members aged 14 months and up. She runs Dubbed Tapes, a tiny label that recycles old tapes by hand-dubbing new sounds over exisiting albums sourced from charity shops, dump shops, trademe and ebay. As Corporal Tofulung she djs at Hollow Earth Radio and 199Radio.
"The Doll can be constituted by mixing 3 parts experiment, 4 parts noise, 1 part ritual, and 2 parts theatre, with a pinch of space dust." - Alt Music.
"The Doll is another noisesome New Zealander, one of whose stocks in trade is called diapercore. On her 'multi-instrumental' side there's moaning, trombonic tooting, long drawn aether slips and lots more bonkerism." - Size Matters. Review of 1974 8" lathe.
"It's not easy for me to imagine someone other than The Doll creating these types of sounds- where you can't distinguish what it is and how it feels like two completely different things at the same time, two things which you don't think should maybe go together but somehow when The Doll does it, it just works. Also, typing about The Doll like this makes me feel like The Doll is like The Rock in that way. But yes, this is what makes The Doll so special and why you should be listening to this music-- it does what no one else can." - Raised by Gypsies. Review of Hiss cassette.
"The Doll manipulates sound – that’s a given! – but these field recordings tell a story grounded in everyday events, in real life, in the physical world around us that we can touch and feel and embrace – and pop! Throughout “Hiss,” during which there’s a lot of the titular sonic flourish, The Doll observes, records, and reflects, flashing commentary on the disposability of objects through the sound associated with them." - Cassette Gods. Review of Hiss cassette.
"Sounds escaping from time. Like watch dogs or guards, recording devices are positioned on make shift perimeters. There is no struggle, sonic patterns are captured on magnetic tape or in binary form. This aural pool is full of all noises, initial vanguard cacophony sacrificed without hesitation. Soon the instruments used to keep the Hiss contained within a specific time frame will reach capacity. The machines will begin to frizzle and wail in their own mechanical way. Creating more sounds, new notes, bleeps and blurps to join the departing throng." - Lost in a sea of sound. Review of Hiss cassette.
"I really like the second track, “saw”, mostly because I can’t quite place what sound this is, but it’s familiar. Whereas the fourth track, Wheel, drives me crazy. I keep thinking my cell phone is interfering, and I’m so conditioned for this sound in recordings that I cringe whenever I hear it." - I Heart Noise. Review of Hiss cassette.
""The Doll is a secretly great sonic moniker (soniker?) because it completely guards against assumptions of what an artist called The Doll sounds like. Some iteration of "doll" I would have at least had a hint. The Babydolls? Doll Face? Doll Eyes? The New Jersey Dolls? But just The Doll? I had no fucking clue. Literally no ideas popped into my head. The red bubblewrap cover didn't prod me in any direction either. Now Hiss was potentially a proper clue, but I don't know, maybe after all this it's just neo-post-neo-nü-shügaze?" - Auxiliary Out. Review of Hiss cassette.
"Of course the scruffy warm experimental sounds, coming from the eccentric fuzziness of the Doll experimenting is a big part of what makes these tracks, but it’s these vocal performances that makes them stand like a house on a dusty foundering." - Yeah I Know It Sucks. Review of 28 Till Now digital.
"Described as "#diapercore" I was not sure what to expect with this one either and, well, it didn't disappoint. Ringing, laser glitches and crashes all begin things and they sound together like an engine revving up. Talking is buried back in there somewhere too. Laser whooshes change the pace into the idea of a spaceship taking off. Crackling static has forced me to create a new word- harsharpness: a combination of harshness and sharpness. As I think the side might be coming to a close, it instead begins to come through in waves. Fading static turns to drilling and then there are some skips. It sounds kind of like an airport." - Raised by Gypsies. Review of Rash cassette.
"Using the crudest techniques imaginable, [The Doll] collages tapes of various known songs with the sounds of urination, faux-bells and various other crap, creating a truly messy mélange. Punker than you? Why, yes it is!" - Size Matters. Review of Down with Noddy cassette.