Doc Rhombus‘ “The Electric Ones” closes out the new album like the soft thud of a book shutting after a long, strange story. It’s chill in that late-night, window-cracked-open kind of way, with a beat that loops just enough to feel meditative without ever losing pulse. There’s a haze to it, but not the kind that dulls—more like fog lit by neon. Think AIR, but if they wandered into Minneapolis and got stuck watching Blade Runner on mute.
This track simmers on a low boil—deep bass lines slinking underneath reverb-drenched synths and dusty guitar textures that feel part analog, part dream. Doc’s layered vocals feel like a whisper passed through a time machine. There’s tension tucked into the softness, a mood that’s never fully safe but never pushes you out either. It’s both far away and unsettlingly close.
And it’s no accident. The whole “Treehouse Theories” album, out today, is built on this idea of observing the world from a distance—emotionally, politically, psychologically—but still being unable to disconnect. “The Electric Ones” captures that strange headspace of being removed but deeply affected. The kind of track you loop while wondering how the sky can look so calm when everything underneath it is buzzing.
About Doc Rhombus:
Minneapolis-based Doc Rhombus isn’t just making music—he’s mapping out internal and external chaos in sonic form. With an undergrad degree in history and a DIY ethic that’s all heart and grit, he’s carved a space between dark-pop, downtempo, and heady trip-hop. From his pandemic-rooted debut “Long Division” to the textured introspection of “Retroactions”, and now this lush, late-night meditation of “Treehouse Theories”, Doc Rhombus is building albums that feel like both time capsules and escape hatches.
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