After launching early 2025 with a 22-track compilation and a viral campaign, ONES and ZEROS faced an unexpected challenge—label head Boys Noize was tapped to join Nine Inch Nails on a world tour and co-produce their TRON: Ares soundtrack. Their new collaborative project Nine Inch Noize will debut with a headlining set at next year’s Coachella; until then, the techno will flow. With contributions from Hekt, TINKERHELL, pavvvvvvlo, and Dagga, EP ZERO establishes a template of four track EPs featuring various artists from the international underground that ONES and ZEROS represents.

EP ZERO opens with psychedelic head-spinner “Touch Me” from Copenhagen’s Hekt, who flexes his Max/MSP skills with novel sonics on a spacious soundstage. While the timbre is experimental, the arrangement goes directly to the point. At 140 bpm with a 3:42 runtime, “Touch Me” is plug-and-play for DJs; mix in, melt faces, mix out.

There is no respite when Argentine TINKERHELL’s “Fangbanger” follows, doubling down on the delirium of the opener. Strutting in at 148 bpm, the dark, staccato bassline threatens from the first beat. A psychotic carnival of rhythmic, ring modulated samples enter the scene to take control, puppeting the bodies on the floor with clever switch-ups. This is electronic body music in the most literal sense, a power tool for the dancers and a death trip for the heads.

The young, Madrid-based pavvvvvvlo offers “DAMELO” next, kick-starting the track with chopped Amens and slowed vocal samples before accelerating into a 150 bpm gallop with oscillating bass. Melody is teased but never delivered, with a single synth note from “Meet Her at the Love Parade” used as a sly and very effective form of edging. pavvvvvvvlo’s arrangement, however, delivers a thrillride of surprises with unexpected shifts and dembow detours.

EP ZERO closes with deconstruction at the hands of Colombia’s Dagga. After the escalating tempo of the preceding tracks, 134 bpm “PTR” paradoxically feels both narcotic and aggressive. Opening with a sharp and metallic hand-drum melody and broken beat kicks, the track’s industrial, percussion-driven minimalism swells to stadium size when its relentless, teeth-rattling bassline arrives. The components are spare—drums, bass, and a single drugged-out, pitched down vocal sample (“putaria,” vulgar Brazilian slang somewhat equivalent to “shitshow”)—but when the track flips into straight 4/4 expect a mosh pit.

With the release of EP ZERO—and Boys Noize’s profile reaching new heights—the field of possibilities keeps expanding for OAZ’s global, multigenerational project. Since its launch, OAZ “takeover” club nights have strengthened its network, with Brussels (Nov. 21st) and Miami (Dec. 3rd) events next. What the future brings is always uncertain, but ONES and ZEROS will certainly be there to receive it.

Lil Internet for ONES and ZEROS