After more than two years without a solo release, Of The Trees has returned with a track that feels measured, intentional, and deeply personal. “Dolori,” released January 16, 2026 via his independent Memory Palace label, is not designed for instant gratification or quick consumption. It is a slow burn that reflects an artist who has spent years refining his vision rather than chasing momentum.
Long before its official release, “Dolori” had already taken on a life of its own.
Fans first encountered the track woven into Of The Trees’ 2025 live sets, where it consistently emerged as one of the most emotionally grounding moments of the night. ‘
Of The Trees Releases “Dolori” Music Video
From his Electric Forest headline debut to the final moments of Camp Alderwild, “Dolori” became a shared pause. Crowds did not erupt so much as settle in, allowing the track to unfold in real time.
That response speaks to the nature of the song itself. “Dolori” is built around restraint. Ambient textures stretch outward rather than stacking aggressively.
Vocal swells drift through the mix like memory fragments instead of hooks.
The low end is present but controlled, anchoring the track without overpowering its atmosphere. It is introspective music that rewards patience and repeat listens, asking the listener to slow down rather than lean forward.
The track also serves as the emotional entry point into Of The Trees’ forthcoming full length album, Moonglade Park.
Rather than positioning the album as a collection of singles, the project is framed as a complete experience. Drawing inspiration from immersive records like Dark Side of the Moon and Houses of the Holy, Moonglade Park is meant to be listened to in sequence, in environments that allow space for reflection and presence.
That sense of environment has always been central to Of The Trees’ work. His music feels inseparable from place, whether it is forests, mountains, amphitheaters, or open air festival grounds. The “Dolori” music video reinforces this connection. Directed by Jay Sansone of Human Being Media and featuring dancer Janiya Jaggers, the visual moves through a variety of biomes and natural landscapes that directly influenced the album’s creation. Each setting feels purposeful, mirroring the organic pacing of the track itself.
Rather than acting as a promotional accessory, the video functions as an extension of the music. It emphasizes movement, stillness, and physical connection to the environment, reinforcing Of The Trees’ role as a visual storyteller as much as a producer. The result feels cohesive rather than conceptual for concept’s sake.
Behind the alias, Tyler Coombs has quietly built one of the most distinctive catalogs in modern bass music. Originally from Maine and now based in Denver, his sound bridges dubstep, hip hop, and experimental electronic music without being confined by any of them.
Tracks like “Spanish Moss,” “Windhorse,” “Everglade March,” “Kick Back,” and “Honeydust” have reached millions of listeners, but their impact has always been measured more in atmosphere than metrics.
Live performance has become the clearest expression of that ethos.
In November, Of The Trees returned to Red Rocks Amphitheatre for a two night headline run, marking his second consecutive year commanding one of the most iconic venues in electronic music. Those shows doubled as the launch point for his North American Moonglade Tour, a thirty plus date bus tour that moved through major markets and landmark rooms.
Stops at venues like The Salt Shed, The Hollywood Palladium, BayCare Sound, and Brooklyn Paramount sold out quickly, reinforcing the scale of his growth while maintaining a sense of intimacy in presentation.
Support from artists including Opiuo, Detox Unit, and EAZYBAKED helped frame the tour as a community driven effort rather than a solo victory lap.
That same philosophy extends beyond touring into event curation. Camp Alderwild, which debuted in August 2025 in Telluride, Colorado, represented a new chapter in Of The Trees’ world building approach.
Set against the San Juan Mountains and co presented with Planet Bluegrass and AEG Presents, the two day gathering blended music, nature, and communal experience in a way that felt deliberate rather than overwhelming.
The event extended into downtown Telluride through intimate venues, pool parties, and after hours programming, creating an experience that blurred the line between festival and retreat.
The lineup, featuring artists like Tycho, Jade Cicada, Ott., Thought Process, EPROM, and Taiki Nulight, reflected the same genre fluid mindset that defines Of The Trees’ own work.
At the center of all of this sits Memory Palace, the label he founded to support artist driven, concept first releases. Rather than operating as a traditional imprint, Memory Palace functions as an extension of his broader vision.
Releases from artists like Freddy Todd, DMVU, and BLAAP are paired with curated showcases and immersive live events, reinforcing the idea that music exists within a larger ecosystem.
“Dolori” captures that ecosystem in a single moment. It is reflective without being passive, emotional without being heavy handed. The track does not chase trends or attempt to redefine a genre. Instead, it reinforces a philosophy that values depth, patience, and intention.
As anticipation builds for Moonglade Park, “Dolori” feels less like a comeback and more like a recalibration. It signals an artist comfortable with his pace, confident in his audience, and committed to creating work that lingers rather than flashes. In a release landscape driven by speed and volume, Of The Trees continues to move deliberately, trusting that the right listeners will follow.
For those who have watched his evolution over the years, the message is clear. This next era is not about expansion for expansion’s sake. It is about refinement, connection, and creating space for listeners to fully step inside the world he is building.
