TOEHIDER

A piece of cake 5/5! Definitely the best Prog album of 2022, and directly to my TOP 5 favourite prog masterpieces ever. I have many reasons for saying it :) :)

I would like to judge and asses this Toehider song from the point of view of a "Prog Suites,opera rocks, or Prog conceptuals album`s" lover. Not just as one more prog music fan. Try to focus in just titleworks that means long stories to be listened independently, no matter if as songs, albums, or parts of an album. f.ex "Close to the Edge" (YES), "Learning to live" (DT), "Be" (PoS), "Singularity" (Devin Townsend), "The Oddyssey" (Symphony X), etc...). I mean, understanding that this kind of works cannot be evaluated as a simple album or even just as a song. This type of tracks rise to a higher level of musical complexity and that are aimed at the full satisfaction of the demanding listener, who not only seeks to feel immersed in an impressive auditory journey. It also causes the sensation of feeling more and more a prisoner of his melodies, and finally the inability to press STOP or PAUSE, despite knowing that the duration of the work is 47 minutes and 47 seconds (in this case).

The prog scene has been lucky to meet this Australian genius Mike Mills with many LPs and works published in recent years where he "experiments", as he himself says, with different musical styles. Furthermore, after his subsequent collaborations with Arjen and Devin Townsend he was already framed as a great singer and established artist. Yes, we knew that. But, what we didn't know is that aspect of being a super composer and lover of prog, that makes him able to tackle this type of trips. In addition, being able to compose and play absolutely all instruments gives you a privileged advantage over others. So, if we put all of the above together with the fact that he has a voice that is both privileged and wonderful, and his continuous obsession with adding vocal lines to improve all his music as much as possible, only then can we understand the quality of this masterpiece.

After reading many other reviews of the album, I like the fact that after listening to it, people mention and acknowledge its different prog influences and bands from the last 5 or 6 decades. I think this is a praise, since when listening to it you will find your own allusions to different progressive groups and bands that you have loved so much.

(As I consider this important and funny, I will mention in each part what reminds to me)

. All starts with a funny intro vocal part and choruses that they announces a trip to alien planet, treating the issue of lack of memory and memories as the main arguments. If you are Mike Mills, a voice opening is a fantastic begining to awake the curiosity of the listener. Maybe the first time you will not consider a "non-instrumental intro" as something so special. But believe me, soon you will need to learn lyrics and to sing it crazely once and again. (A.C.T? Queen?)

. -intro- Instrumental intro comes around 01:40 in a magnificient progpower metal part continuation, introducing little parts and sounds that be developed over time. (Freak Kitchen? Opeth?)

. At 02:30 aprox, the main melody is played instrumentally, perfectly adjusted despite its more prog-80's style, hair on end! (Transatlantic? Genesis?)

. It progresses towards a hard and more progressive part, mixed in turn with funny-dirty guitar parts to finish the introduction. Nice keyboards effects to call to the voice (Dream Theater?, Haken?) - intro ends -

. Vocals take control from 04:15 to 08:20 offering some fantastic verses and main choruses singed at different modes, apparently easy to sing but is wrapped into difficult prog times measures 6/8, 5/8... Do not be surprised to find 10/12 or more complex times that I prefer not to deep, I think it is better to assimilate, listen, and just enjoy it. The important thing is that vocals and how good it adapts to that complexity. (Rush? Ayreon influence? Camel?)

. Here (08:23) we find acoustic guitars with obscure vocals being answered with other "radio" vocals and suddenly at 10:55 a pretty epic chorus that anticipates perfectly the famous part of "The Hoarder" (Steven Wilson? The Third Ending?)

. THE HOARDER in 12th minute. This famous part of the album is a nice funky-prog composition alterned with a kind of super fast and technique "Rap-prog-metal" vocals that will infect you with the desire to look for a radio. What an explosion of vocal resources! (Toehider at all) To close this part Mike returns to the intro parts but in a different mood. The instrumental one at minute 15 more type of epicloud :D (epic and loud). (the Devin Townsend influence is a clear evidence).

. From min.16 to min.22: An ironic rest with long hard-metal/black-metal parts that are aboarded by Mike with open, power and heavy vocals. A bit long for me, but agreeding that this kind of parts are necesary for suites like this one. (Symphony X? Iron Maiden? Manowar? ACDC? Many influences here...)

. At min. 22:40, after a little, beautifull and magic passage we get back to the anthology 80's prog-rock in another clear nod to Rush. It's really fascinating how easily Mills weaves together all these different styles, going back and forth again and again so cleanly and without it sounding forced at all. (Rush? Coheed and Cambria? Sun Caged?) (Pay attention to the Bon Jovi´s little colaboration :) ...)

. Minute 26. A surprising 16 bits progmetal appears to immerse ourselves in this journey to another planet (Mattias Eklundh?) mixed with good prog metal after it (this part reminds me Circus maximus? Pagans Mind?). Again synth percussions and old PC games sounds and a slow Grunge part with a kind of "dj scratching"(Incubus)... This type of resources are used in masterpieces that only look good and are within the reach of artists like Toehider. You'll understand this and maybe be okay with it if at 28:30 you end up throwing your hands up and humming this [&*!#]ty Mario Bros Happy Ending thing like a [%*!#]ing teenager.. (Mike Oldfield?)

. -little respite- Games apart, the work continues in min 30 with a good heavy section, not too surprising but totally necessary in a suite like this, now we are prepared to feel the imminent invasion (Metallica? Megadeath?)

. From 31:45 this epic piece suits perfect for the warning. A repetition of quick parts in a symphony x power metal style, with incredible very fine and high voices. I love the way Mills takes over moments of these types of musical styles to provide greater strength and super epicness. (Rhapsody? Blind Guardian? Again Ayreon?) Raise your ring up! . Minute 33:30. Let´s get in an instrumental dark and power metal mixed with obscure voices that evolved to a djent power metal part. Quite well executed and composed for not being a specialist in the style (Pain of Salvation or DT voices? Periphery?)

. -the solo- At 37:15 a beautiful slow part begins that works as a lever towards the very unexpected guitar solo. What a repertoire of celestial voices, choruses and screams trademarked by Mills to suddenly introduce a wonderfull guitar solo that comes at the perfect time. (Andromeda? Sieges Even?)

. Discover this perfect guitar solo from 40:30 to 41:50 (yes, it is like a mini-song length, but is in its fair proportion, haha..). Surely Petrucci or Stolt himself would sign a solo like this. (Neal Morse, Liquid Tension Exp?) -Back to 80's- From 42:00, Mike has reserved an even more magical part between modern and eighties if possible to describe the process of the trip. Yes, when it seems that he has managed to win you over with that great voice and that catchy part, he suddenly starts with another second verse at 43:30. (Rush? Coheed and Cambria?)

. Note, frequently listen to that beautiful ability of playing with radio voices that the Australian has...

. Time to recover the main chorus at 44:30, but played this time in a more powerfull and epic mode. Oh my god, after this long time I would choose to listen once and again this main chorus. Forever. That unique moment that makes one no longer hold back all the good vibes accumulated during the play, and euphoria explodes. -Closing- As a surprise, a new magical verse going up one more scale that aims to find an ending remembering the initial melody, a typical resource in these works of art: End where it all began...

.

Hopefully this great artist will soon regain the desire to make a new work of Prog art like this marvel. Last week I received a copy of the limited edition of the Vinyl that I was able to purchase directly from their website, which I highly recommend. The vinyl hides a different/alternative ending compared to the studio album, whose content I reserve to enjoy with a good beer.

The soundtrack to a comic book artist's story line by Aussies Michael Mills and Andrew Saltmarsh, respectively.

Line-up / Musicians: - Mike Mills / everything

1. "The Hoarder" (single version) (3:13) reminds me of The Psychedelic Ensemble's sound used to put together a "Bohemian Rhapsody"-inspired Queen song. (9/10)

2. "I Have Little to No Memory of These Memories" (47:47) What starts out sounding like a more-manically re-invisioned MOON SAFARI's Blomljud turns into Devy TOWNSEND's Ziltoid the Omniscient 3.0 via the instrumental sounds used by Berklee College's NATIVE CONSTRUCT on their 2015 revelatory Quiet World. Later familiar themes, styles, and sounds come in the form of early and classic RUSH, THE BUGGLES' The Age of Plastic, AC/DC, QUEEN, IRON MAIDEN, POISON, STYX, THE POLICE, BON JOVI, QUEENSR?CHE, OPETH, ARJEN LUCASSEN, PAIN OF SALVATION, and so many more. The instrumental sounds so often bring me back to The Psychedelic Ensemble. Unfortunately, the way Mike has strung together so many seemingly unrelated musical styles into this one compact homage to musicians past reminds me of one of my most detested musical products of all-time: Edge of Sanity's (highly-acclaimed) release from 1996, Crimson. I do think it a bit misleading that the very-clearly delineated musical motifs aren't individuated and given separate titles as they so easily could. Heck, there's even dead-air space between many of the songs! Some of the ideas are so derivative that I can't help but think "why?" And the linking of such divergently different motifs (or what I'd call "songs") is quite a bold and, frankly, odd decision--despite the story's (supposed) continuity. The music is very well-composed and "performed" despite it all having been "performed" by one lone artist on one single track. (Just kidding. We must assume that Mike used some kind of computer program to create and/or record each individual instrument's track.) The sound engineering and final mix is quite well-executed. (Again, we must assume that the engineering and mixing also occurred on a computer.) Impressive skills (at least compositionally if not instrumentally). On YouTube most everything you find about Mike/Michael make note of his extraordinary vocal talents/abilities. I have to agree: the man is quite talented and has obviously worked hard to hone his skills; his voice (and stylistic choices) seem quite adaptable to many styles and ways of expressing his emotions and lyrics. (89/95)

Total Time 51:00

An album that draws together many different sound themes from many bands through history (many of whom I have cited above). I highly commend the collection of styles Mike has so lovingly (and accurately) imitated in this, a composition that is very much his own. The sound and production are both excellent with clear delineation between instruments yet blended seemlessly together to make "complete"-sounding "songs" all. Also, the humorous lyrics and storyline are enjoyable (especially as they are delivered by such a gifted vocalist), even if the ideas they're based on are not so very original. As mentioned above, I am not so confident commending the musicianship of the sound we hear due to the question of how much of the instrumental performances are computer generated and how much were actually played by Mike. Also, noting how I've never been a big fan of music that strings together motifs from other historically significant (or recognizable) songs and artists, despite how serious and well done are the tributes, I am naturally inclined to want to not like these kinds of "homage" projects. Despite all of this, I cannot deny the fact that I like this album: I walk away with its sounds and ideas reverberating in my head; I find that I very much enjoy each time I return to the album. Also, I cannot, and will not, deny the genius of the man who pulled all of this together. Mike, you deserve all the accolades the critics are willing to throw your way. The bottom line: this is good music; this is an enjoyable, fun listen.

A/five stars: a masterpiece of progressive rock music; an album worthy of inclusion in any and every prog lover's music collection. I have a feeling that as this album gains traction (as more people hear it) it will eventually establish itself as one of prog's all-time classics.

The album has one track only. But what a track it is. It is a story and a literal journey to an alien planet and back. This 47'47" track has so many switch-ups, you would expect it wouldn't work as a cohesive unit. But it does and that alone is amazing.

From the first second, I was invested. The vocal harmonies are so cool. From then on, time flew by.

I consider this album a tribute to many artists that shaped our music. Most are related to prog or metal, but I hear others too. I don't have the intention of being complete, but here's a selection of artists I hear odes to: Queen, Jethro Tull, King Crimson, Van Halen, Rush, The Police, But I also hear 80s electronics, all kinds of metal influences.

It is almost unbelievable this is all created by one man, Michael Mills. He has been a guest singer on Ayreon records. His singing on this album is stunning too. It's incomprehensible to me he did all the voices himself. He sounds powerful and energetic. But his musicianship is brilliant too. Drums, guitar, keys, it doesn't matter. It all sounds great.

The story is imaginative, funny, and absurd at times. I understand there are two endings to this. I only know the happy one. I am interested to learn about the bad ending too.

How is it possible to switch from metal to 80s pop to electronics to ripping guitar solos to whatever comes next to totally surprise and excite you?

I have listened to many albums from 2022 and I have quite some favorites indeed. But nothing gives me such a great feeling while listening to it as this one from Toehider.

This is a definite 5-star album for me. And my prog album of the year 2022!

Listening diary 16th August 2021 Toehider - Do You Believe in Monsters? (progressive rock/metal, 2010)

This is the only release I've heard from Toehider's manic 12 EPs in 12 months period, and it does signal that I really should check more of them out, since this is probably my favourite release from him. It's the usual Mike Mills affair, sitting partway between theatrical musical comedy and Devin Townsend, but this time he doesn't forget to write good tunes too, with a couple of these being devilishly catchy. Even if you can't stomach his usual overload of gimmickry (and occasionally I can't), this is still a good release on musical terms alone, and is arguably a better intro to his music than any of the full- lengths.

7.1 (5th listen)

Part of my listening diary from my facebook music blog - www.facebook.com/TheExoskeletalJunction

This album is so rich in lyrics and musical styles, it keeps on giving. It is really when all the amazing songs on past albums came together. In this day and age, it's not impressive to only play one or two instruments really well. You need to be the whole band! It's the mix of musical styles that makes this so impressive, the album is full of 'wow' moments, not only the multi-layered vocals, but the songwriting, lyrics, guitars and world class drums and keys. So many different styles. The album showcases the obviously well-studied musical knowledge of Mike Mills, multi-instrumentalist and vocal genius, who has gotten the attention he deserves due to his inclusion as one of the world class vocalists on Ayreon's last couple of albums. Toehider's music is probably best described as eclectic progressive metal. There's a solid dose of speed metal, 80's rock, 80's disco, contemporary top 40, funk, rock opera, country, etc, mixed with some reflective and also hilarious story-telling lyrics and given a visually distinctive artistic look by illustrator Andrew Saltmarsh. The album opener, 'GO FULL BORE!' Is a wonderful speed metal ditty with a great video clip. The lyrics are hilarious as is the brief Bathory black metal interlude. 'Well Give It' is a thumping disco song, 'The Ultimate Exalter' is another standout as is 'He's There and He Does That'. But really, every song is strong with a bunch of instrumental and mood changes and other layers of orchestration to keep you interested. I didn't really mention the vocals, they're pretty good(!). Go listen. 5 star reviews are reserved for only the best of the best. Sure, it's a collection of known styles weaved together, but I'm not sure how this could be any better.

This album was quite interesting and immediately after I listened to it for the first time I felt I needed to give it another listen through. Although there are many progressive metal aspects on this record and Mike Mills incorporates a vast array influences into this project. The choppy guitars and high vocals at the beginning of the first song "You and I Both Lose (But 5 Wins)" give almost a sort of The Mars Volta feel. The fifth song "Smash It Out" was a highlight for me, with super speedy guitar with Mill's vocals mimicking it throughout. The beginning and chorus of the song "Whoa!" has a real pop/glam rock feel to it and is very uplifting. The final song on the album "Geese Lycan" is crushing metal song with heavy growls and makes a hilarious and odd reference to Grease Lighting lol. If your are a lover of progressive rock/metal there is guaranteed to be at least one song on this record that appeals to you. His wide-ranging vocals are very prominent and add to a very energetic and enjoyable listening experience. A great listen and quite a hidden gem.

8.1/10