The artist’s public profile lists The Swamp, US as its location. Toadface’s captured release history contains 30 dated entries, spanning November 29, 2016 to September 4, 2026. The newest is “SLEIGHT OF SOUND - EP,” a EP credited to Yheti & Toadface. This establishes a documented sequence of published work; the earliest entry here is a catalog boundary, not a verified career debut. Shared artist-credit lines appear on 8 captured entries. Yheti & Toadface is credited on 4 entries, including “SLEIGHT OF SOUND - EP” (2026). DMVU & Toadface is credited on 2 entries, including “It's Dangerous To Go Alone - EP” (2023). Aweminus & Toadface is credited on 1 entry, including “40 Pizzas - Single” (2020). A shared collection credit can represent a collaboration, remix or another credited role; it is not proof that every credited artist co-produced every track.
The rights line on “SLEIGHT OF SOUND - EP” reads “℗ 2026 CHAMPIONS NETWORK.” An earlier reference, “What I Stand For - Single” (2016), lists “℗ 2016 Aspire Higher.” Rights credits identify the release’s published ownership or licensing context. They do not by themselves establish an exclusive label signing, management relationship or personal endorsement. Spotify displayed 26.5K monthly listeners on September 8, 2026. This is a platform audience snapshot, not a total fan count. The sample contains 6 entries dated within the 365 days ending September 24, 2026, compared with 3 in the preceding 365-day interval. Recent reference points include “Mycelium Network” (January 21, 2026); “Tarnished - Single” (July 22, 2026); “SLEIGHT OF SOUND - EP” (September 4, 2026). Counts reflect this captured catalog, so they should not be read as a complete production total or a measured change in popularity.
Toadface’s captured release history contains 30 dated entries, spanning November 29, 2016 to September 4, 2026. The newest is “SLEIGHT OF SOUND - EP,” a EP credited to Yheti & Toadface. This establishes a documented sequence of published work; the earliest entry here is a catalog boundary, not a verified career debut.
The captured sequence covers 11 distinct release years. It includes 19 entries explicitly titled as singles, 11 EPs or other multi-track collections, 0 remix editions and 0 DJ mixes. These categories describe catalog packaging, not a count of unique compositions. Alternate versions and repackaged material can appear as separate releases.
“Bugs For Breakfast” (2018) provides a longer-form reference point, followed later in this sample by “SLEIGHT OF SOUND - EP” (2026). Read alongside the singles, this suggests a catalog built around both individual tracks and larger listening projects.
Shared artist-credit lines appear on 8 captured entries. Yheti & Toadface is credited on 4 entries, including “SLEIGHT OF SOUND - EP” (2026). DMVU & Toadface is credited on 2 entries, including “It's Dangerous To Go Alone - EP” (2023). Aweminus & Toadface is credited on 1 entry, including “40 Pizzas - Single” (2020). A shared collection credit can represent a collaboration, remix or another credited role; it is not proof that every credited artist co-produced every track.
The rights line on “SLEIGHT OF SOUND - EP” reads “℗ 2026 CHAMPIONS NETWORK.” An earlier reference, “What I Stand For - Single” (2016), lists “℗ 2016 Aspire Higher.” Rights credits identify the release’s published ownership or licensing context. They do not by themselves establish an exclusive label signing, management relationship or personal endorsement.
The sample contains 6 entries dated within the 365 days ending September 24, 2026, compared with 3 in the preceding 365-day interval. Recent reference points include “Mycelium Network” (January 21, 2026); “Tarnished - Single” (July 22, 2026); “SLEIGHT OF SOUND - EP” (September 4, 2026). Counts reflect this captured catalog, so they should not be read as a complete production total or a measured change in popularity.
Toadface has several recent catalog entries to evaluate as a connected release cycle. The next meaningful test is whether attention persists across subsequent releases, rather than concentrating on one title. Repeat listener measurements, independent DJ support and comparable live-demand evidence would distinguish sustained scene traction from release frequency alone.
This dossier uses public catalog records, artist and promoter profiles, and cited reporting. It is independent music analysis. Catalog history is a bounded sample: its first entry is not necessarily a debut, and alternate editions are not unique compositions. Shared credits do not establish each person’s production role. Release frequency does not measure popularity. Biographical statements retain their source attribution; editorial interpretation is labeled.