Wooli’s identity depends on the tension between melodic openness and the dense physicality of dubstep and riddim. The project can enter through an emotional musical idea and then shift into a much heavier setting without losing its center. That dual appeal is important to the bass chart: it connects listeners who arrive for songs with those following production and live impact. EDM30 places Wooli prominently because that bridge is a defining feature of the artist’s work.
His collaborations give the approach a practical history. Work in the wider melodic and heavy-bass network, including the connection with Kompany around Thicc Boi, places him inside an ongoing exchange of production ideas. The chart assessment rewards that versatility and the consistent identity carried through it. Wooli’s scene contribution is a convincing shared space for two different kinds of intensity, with melodic feeling and aggressive arrangement supporting the same audience relationship across records and performance.
Wooli’s captured release history contains 79 dated entries, spanning October 4, 2016 to August 28, 2026. The newest is “Hear Me Now - Single,” a single credited to Kaskade, Wooli & MAXINE. 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 56 entries explicitly titled as singles, 6 EPs or other multi-track collections, 8 remix editions and 9 DJ mixes. These categories describe catalog packaging, not a count of unique compositions. Alternate versions and repackaged material can appear as separate releases.
“The Cave - EP” (2017) provides a longer-form reference point, followed later in this sample by “Sam Adams - 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 62 captured entries. Excision & Wooli is credited on 6 entries, including “Excision b2b Wooli Live at Lost Lands 2024 (DJ Mix)” (2024). Seven Lions, Wooli & AMIDY is credited on 3 entries, including “Shadows (Remixes) - EP” (2021). Wooli & Cyclops is credited on 2 entries, including “Jazz Cabbage - 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 “Hear Me Now - Single” reads “℗ 2026 Arkade.” An earlier reference, “DayDream - Single” (2016), lists “℗ 2016 Good Enuff Under Exclusive License to Mad Decent.” 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 9 entries dated within the 365 days ending September 24, 2026, compared with 11 in the preceding 365-day interval. Recent reference points include “Sam Adams - EP” (July 17, 2026); “Fux With Us - Single” (August 7, 2026); “Hear Me Now - Single” (August 28, 2026). Counts reflect this captured catalog, so they should not be read as a complete production total or a measured change in popularity.
Wooli 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.