GRAVEDGR is listed by Insomniac in Techno. The artist’s public profile lists Your Local Cemetery as its location. GRAVEDGR’s captured release history contains 48 dated entries, spanning June 8, 2018 to August 7, 2026. The newest is “LIKE A SLUT (2026 EDIT) - Single,” a single credited to GRAVEDGR & Dan Lee. 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 27 captured entries. OGUZ & GRAVEDGR is credited on 3 entries, including “DISTORTED - Single” (2023). GRAVEDGR & Negitiv is credited on 2 entries, including “Rakata - Single” (2026). Timmy Trumpet & GRAVEDGR is credited on 2 entries, including “Drumroll Please (Extended Mix) - Single” (2024). 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 “LIKE A SLUT (2026 EDIT) - Single” reads “℗ 2026 WALKING THROUGH MY CEMETERY / Create Music Group Inc..” An earlier reference, “Rampage - Single” (2018), lists “℗ 2018 Heavyweight 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.
GRAVEDGR’s captured release history contains 48 dated entries, spanning June 8, 2018 to August 7, 2026. The newest is “LIKE A SLUT (2026 EDIT) - Single,” a single credited to GRAVEDGR & Dan Lee. 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 9 distinct release years. It includes 42 entries explicitly titled as singles, 3 EPs or other multi-track collections, 2 remix editions and 1 DJ mixes. These categories describe catalog packaging, not a count of unique compositions. Alternate versions and repackaged material can appear as separate releases.
“6 FEET UNDER” (2020) provides a longer-form reference point, followed later in this sample by “AFTERLIFE” (2023). Read alongside the singles, this suggests a catalog built around both individual tracks and larger listening projects.
Shared artist-credit lines appear on 27 captured entries. OGUZ & GRAVEDGR is credited on 3 entries, including “DISTORTED - Single” (2023). GRAVEDGR & Negitiv is credited on 2 entries, including “Rakata - Single” (2026). Timmy Trumpet & GRAVEDGR is credited on 2 entries, including “Drumroll Please (Extended Mix) - Single” (2024). 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 “LIKE A SLUT (2026 EDIT) - Single” reads “℗ 2026 WALKING THROUGH MY CEMETERY / Create Music Group Inc..” An earlier reference, “Rampage - Single” (2018), lists “℗ 2018 Heavyweight 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 7 entries dated within the 365 days ending September 24, 2026, compared with 5 in the preceding 365-day interval. Recent reference points include “SQUARE 4 - Single” (May 29, 2026); “Machinegun - Single” (July 3, 2026); “LIKE A SLUT (2026 EDIT) - Single” (August 7, 2026). Counts reflect this captured catalog, so they should not be read as a complete production total or a measured change in popularity.
GRAVEDGR 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.