ZLATA Delivers Debosh Vol. 001 and It Goes Straight to #1 Release

Most labels spend their first year testing the waters, building cautiously toward a vision. ZLATA's Debosh Records launches with Debosh Compilation Vol. 001, a 9-track statement featuring trans vocalists, template-breaking techno and trance, breakbeat precision, and standout tracks like "Girlies," "Baddies," and "Daddy's Girl." Within 24 hours, the compilation hit #1 in Trance on Beatport and charted at #8 in Hard Dance, #9 in Breaks, and #12 in Raw Hypnotic Techno.

That's not a careful introduction—it's a curator who knows exactly what she's building.

This isn't simply a collection of club tracks; it's a platform for artists who think outside the box and bring their whole selves to the floor. Queer artists, femme artists, and male artists all unite in a refusal to code-switch or soften for palatability. The result is a compilation that feels inclusive, gritty, and loud in all the right ways.

The Curator's Vision

As label owner and A&R, ZLATA has established herself as a tastemaker unafraid to push boundaries. The opening track, "Calvin Klein," makes it clear from the first bar—inside Debosh, genres bend freely. Trance, techno, indie? Nobody knows, and that's the fun. Confident and unapologetic, it sets the tone for a compilation that welcomes everyone ready to let loose and have a little fun.

For the Girls, the Gays, and the Theys

Fresh off his ADE shows, New York's viral sensation Flash Gea comes in hot with "Girlies"—a high-BPM, attitude-packed techno anthem built for the girls who run the floor.

Known for his bouncy and unapologetically opinionated sound, Flash blends hip-hop swagger with hard-hitting techno energy to craft a track that's as cheeky as it is commanding. In collaboration with Girl Code, "Girlies" is pure feminine power—sticky, confident, and impossible to escape once it hits your system.

Chemistry and Community

Some of the compilation's most magnetic moments emerge from genuine creative chemistry.

• "See Your Face" captures five producers in a room without a plan, resulting in a track that sits perfectly between Berlin and Los Angeles—concrete floor swagger meets West Coast confidence and color. It's built for dark rooms and late nights, hitting fast and heavy with a playful edge that never takes itself too seriously.
• Ashley Anngora and Artsychoke's "My Oh My" delivers the delicious satisfaction of knowing your worth, translated into a strutting techno pulse that radiates self-possession. The track tells the tale of a gentleman who was quite convinced of his own irresistibility—until he was informed otherwise. The record carries that moment with wicked satisfaction and calm assurance.
• Edgar Os and Callado's "Baddies (All Around)" is for exactly who you think it's for: the baddies, the girls, the gays, the theys, the ones who walk into a club and elevate the vibe simply by existing. Clocking in at 150 BPM and above, it delivers Berlin confidence with ruthless efficiency—classic acid lines cutting through with precision and vocal chops that make becoming a baddie feel like the natural order of things.

Platforming Bold Voices

• Yes Shef's "You Are Everything to Me" stands as one of the compilation's emotional centers. As a trans vocalist and producer, Shef delivers her first vocal track that reminds you why dance music has always belonged to queer culture. Written, sung, and produced by Shef, it hits with high-BPM urgency and basslines that feel like heartbeat and muscle. The hoovers don't simply cut through the mix—they make a statement with the clarity of someone ready to be heard.

• Alliey XO's "Daddy's Girl" merges trance sensibilities with power play aesthetics in a track that's both intimate and confrontational. It's provocative in the best sense—pushing against boundaries of what a club track is expected to say and how it's expected to behave. The record makes clear that dance music can hold complexity, that it can be playful and serious, embodied all at once.

   

Precision Meets Power

The compilation's harder moments prove that ZLATA's curatorial cat eye extends beyond bold subject matter to technical excellence.

• Katrii, making her Debosh debut with "Break the System," delivers Vancouver-based breakbeat with the discipline of someone who understands that intensity without intention is simply noise. The percussion is precise, the bassline earns attention rather than demanding it, and the production speaks the language of anyone who's truly lived on a dance floor.

• JSMN, fresh off major festival dates including Escape Halloween with "Just Like That," shapes techno, trance, and hardgroove with intention, translating live command into studio authority. She bends tracks with the experience of performing for massive crowds—the sound of an artist in her touring prime who knows not just how to move crowds, but how to lead them.

   

For the Culture

When a compilation this bold goes straight to #1, it sends a message: dance music is ready for more personality, more joy, more artists who refuse to fit the mold.

Debosh Compilation Vol. 001 proves there's space for the ones who've been told they're too much, too loud, too outside the box. For fans tired of hearing the same sound on repeat. For a culture that's always been at its best when it celebrates artists who think differently.

Game on.

Debosh Compilation Vol. 001 is out now.