William Black is listed by Insomniac in Electronic / Future Bass. The artist’s public profile lists Denver, Colorado as its location. William Black’s captured release history contains 68 dated entries, spanning May 9, 2017 to July 24, 2026. The newest is “Flutters - Single,” a single credited to Dabin, William Black & Audra Miller. 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 40 captured entries. William Black & Fairlane is credited on 6 entries, including “Broken - VIP - Single” (2022). SLANDER & William Black is credited on 4 entries, including “Back To U (Acoustic) - Single” (2025). William Black & Rico & Miella is credited on 3 entries, including “Here At Last (Remixes) - EP” (2018). 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 “Flutters - Single” reads “℗ 2026 Kannibalen Records.” An earlier reference, “Not Fair - Single” (2017), lists “℗ 2017 Dim Mak Records Inc..” 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.
William Black’s captured release history contains 68 dated entries, spanning May 9, 2017 to July 24, 2026. The newest is “Flutters - Single,” a single credited to Dabin, William Black & Audra Miller. 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 10 distinct release years. It includes 41 entries explicitly titled as singles, 6 EPs or other multi-track collections, 18 remix editions and 3 DJ mixes. These categories describe catalog packaging, not a count of unique compositions. Alternate versions and repackaged material can appear as separate releases.
“Letting Go (feat. Park Avenue)” (2018) provides a longer-form reference point, followed later in this sample by “The Shadow Realm” (2025). Read alongside the singles, this suggests a catalog built around both individual tracks and larger listening projects.
Shared artist-credit lines appear on 40 captured entries. William Black & Fairlane is credited on 6 entries, including “Broken - VIP - Single” (2022). SLANDER & William Black is credited on 4 entries, including “Back To U (Acoustic) - Single” (2025). William Black & Rico & Miella is credited on 3 entries, including “Here At Last (Remixes) - EP” (2018). 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 “Flutters - Single” reads “℗ 2026 Kannibalen Records.” An earlier reference, “Not Fair - Single” (2017), lists “℗ 2017 Dim Mak Records Inc..” 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 7 in the preceding 365-day interval. Recent reference points include “Mirage - Single” (May 1, 2026); “The Shadow Realm (Remixes)” (June 26, 2026); “Flutters - Single” (July 24, 2026). Counts reflect this captured catalog, so they should not be read as a complete production total or a measured change in popularity.
William Black 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.