Of The Trees’s captured release history contains 24 dated entries, spanning January 1, 2013 to June 4, 2026. The newest is “Brackish - Single,” a single credited to Of The Trees & Tape B. 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 10 captured entries. BLAAP, Of The Trees & Freddy Todd is credited on 2 entries, including “VOLCANOLOGY” (2024). Of The Trees & Tape B is credited on 1 entry, including “Brackish - Single” (2026). Of The Trees & LYNY is credited on 1 entry, including “Hollow - 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 “Brackish - Single” reads “℗ 2026 Memory Palace.” An earlier reference, “Threshold - EP” (2013), lists “℗ 2012 Gravitas Recordings.” 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. Spotify displayed 537.2K monthly listeners on September 8, 2026. This is a platform audience snapshot, not a total fan count. The sample contains 6 entries dated within the 365 days ending September 24, 2026, compared with 2 in the preceding 365-day interval. Recent reference points include “Hollow - Single” (April 2, 2026); “Amanita - Single” (April 24, 2026); “Brackish - Single” (June 4, 2026). Counts reflect this captured catalog, so they should not be read as a complete production total or a measured change in popularity.
Of The Trees’s captured release history contains 24 dated entries, spanning January 1, 2013 to June 4, 2026. The newest is “Brackish - Single,” a single credited to Of The Trees & Tape B. 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 15 entries explicitly titled as singles, 9 EPs or other multi-track collections, 0 remix editions and 0 DJ mixes. These categories describe catalog packaging, not a count of unique compositions. Alternate versions and repackaged material can appear as separate releases.
“Threshold - EP” (2013) provides a longer-form reference point, followed later in this sample by “Moonglade Park” (2026). Read alongside the singles, this suggests a catalog built around both individual tracks and larger listening projects.
Shared artist-credit lines appear on 10 captured entries. BLAAP, Of The Trees & Freddy Todd is credited on 2 entries, including “VOLCANOLOGY” (2024). Of The Trees & Tape B is credited on 1 entry, including “Brackish - Single” (2026). Of The Trees & LYNY is credited on 1 entry, including “Hollow - 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 “Brackish - Single” reads “℗ 2026 Memory Palace.” An earlier reference, “Threshold - EP” (2013), lists “℗ 2012 Gravitas Recordings.” 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 2 in the preceding 365-day interval. Recent reference points include “Hollow - Single” (April 2, 2026); “Amanita - Single” (April 24, 2026); “Brackish - Single” (June 4, 2026). Counts reflect this captured catalog, so they should not be read as a complete production total or a measured change in popularity.
Of The Trees 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.