Felix da Housecat’s career spans several identities, including Aphrohead and Thee Maddkatt Courtship, giving his history a deliberately expansive shape. Collaborations with Miss Kittin, James Murphy and Lee Scratch Perry and remixes for artists such as Nina Simone and Madonna show the range of musical contexts around the work. EDM30 values that restless authorship. The project belongs to a house history in which character, experimentation and the ability to cross artistic boundaries are central forms of influence.
Founders Of Filth, launched in Montreal in 2017, adds a label chapter to that long creative practice. It provides a setting in which the artist’s curatorial perspective can continue alongside his own records. EDM30’s placement recognizes the breadth of the catalog and the distinctive personality carried through it. Felix da Housecat contributes an important model of electronic individuality: aliases, collaborations and reinterpretations become ways of exploring related ideas, allowing the career to expand while retaining the recognizable sensibility of the person behind the work.
Felix da Housecat’s captured release history contains 96 dated entries, spanning January 1, 1993 to July 10, 2026. The newest is “Funk Drunk - Single,” a single credited to Felix da Housecat, Fatboy Slim, Carola & 7KY. 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 22 distinct release years. It includes 60 entries explicitly titled as singles, 14 EPs or other multi-track collections, 11 remix editions and 5 DJ mixes. These categories describe catalog packaging, not a count of unique compositions. Alternate versions and repackaged material can appear as separate releases.
“Thee Industry Made Me Do It!” (2003) provides a longer-form reference point, followed later in this sample by “Purpose EP” (2020). Read alongside the singles, this suggests a catalog built around both individual tracks and larger listening projects.
Shared artist-credit lines appear on 57 captured entries. Felix da Housecat & Chris Trucher is credited on 9 entries, including “Doogie Bisco '25 - Single” (2025). Felix da Housecat & Kristin Velvet is credited on 4 entries, including “Cats Love Velvet IV - Single” (2020). Felix da Housecat & Vanfave is credited on 3 entries, including “CHIJACKK - Single” (2026). 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 “Funk Drunk - Single” reads “℗ 2026 Southern Fried Records.” An earlier reference, “Freakadelica” (1993), lists “℗ 1993 Djax Records.” 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 11 entries dated within the 365 days ending September 24, 2026, compared with 18 in the preceding 365-day interval. Recent reference points include “We're Gonna Dance (Feat Lady Blackbird) [Felix Da Housecat Remix] - Single” (June 24, 2026); “CHIJACKK - Single” (June 26, 2026); “Funk Drunk - Single” (July 10, 2026). Counts reflect this captured catalog, so they should not be read as a complete production total or a measured change in popularity.
Felix da Housecat 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.