New York’s indie-rock darling, Dogpark have officially released their highly anticipated EP Corporate Pudding. Heralded as one of idobi Radio’s artists to watch in 2026, the quartet effortlessly intertwines themes of modern love and loss with tongue-in-cheek lyrics describing the dull, gray world of corporate America and capitalism’s death grip. The EP is a must-listen for all indie lovers, whether you love the stylings of Oasis and The Cure or The Strokes and Tame Impala, you are sure to find all those influences and more with Dogpark. Frankly, the band is breathing new life into the genre and will surely inspire young music listeners to follow in their footsteps.
Read more: More New Music: Download The Always-Free idobi App
The band says of the release, “Corporate Pudding is an EP that offers commentary on modern society through allegory and satire (along with a driving and electric rock sound). In particular, how the access to everything you could conceive at the click of a button has become sort of an opiate for the modern young adult. The problems that stem from the internet are vast, but on this project, we mostly focus on how it has assisted in proliferating wealth inequality, an unnatural human experience, isolation, and how all of these consequences funnel into each other. More specifically, I suppose how a person can segue this feeling of loneliness to soullessly generating money and power.”
idobi Radio had the chance to chat with the band for an exclusive track-by-track interview, detailing all of the sonic inspo and meanings behind their previously released EP singles, as well as their new drops. Check it out below. Don’t forget to check out their upcoming tour dates and grab your tickets.
“DIALTONE”
The first track on the EP tackles this digital love concept. Living through your phone, trying to know someone and love someone through your phone and their phone. The word “dialtone” is so effective, as it can refer to the tone you hear while you try to muster the courage and make a call… it could also refer to the sound that comes after, when you’ve hung up and your feelings are settling. It’s a double-edged sword. The verse instrumental is one of my favorites, driving hard straight to the chorus, which is an open breath of fresh air. The guitar solo has an Elliot Easton flair to it, as does the whole song; it explores this juvenile love theme that The Cars captured so well.
“I Don’t Mind”
“I Don’t Mind” originated with the verse guitar riff, which borrows from the “Television” tradition. Eamon sings a great lyric about various aspects of life in New York; being a fly on the wall to the rampant, kind of enveloping chaos that surrounds, while also trying to navigate forming one’s own identity amongst it. The song drives hard throughout and possesses a sort of rippling, fuzzy textural edge. The bridge breakdown section is one of my favorite moments on the project.
“Dandelion”
It can depend on the day, but “Dandelion” is currently my favorite song of ours… maybe just because it hasn’t come out yet (at least when I wrote this). [The track is] instrumental, along with the unorthodox structure of the song, makes it sound pretty individualistic to my ears. There’s a signpost pattern of tap harmonics at the beginning that returns later but is recontextualized. It’s got a simple, shoutable chorus and high-sung, winding verse vocals. The gem of the song is the outro, which builds slowly. Thick vocal layers rise and fall, while the main line drips with this true yearning quality.
“What’s My Line Again?”
“What’s My Line Again?” has some of our more experimental production on it. The verses are incredibly funky, staccato-like and then the chorus really opens up. There’s this tucked synth part in the chorus that acts like a riser… it subtly builds up the anxiety and tension, which really complements the narrator’s floundering. The bridge has all these crystalline guitar textures. We really jam it out at the end, working in elements of the funk from the verses and building it to higher highs.
“September”
“September” acts as a harbinger for the collapse of a cherished relationship. The narrator knows the ground is falling out from under him, and the song is this sort of beautiful warning. It begins with this wilting instrumental guitar riff, followed by the first whispered line and the introduction of the main rhythm guitars. The chorus has an almost funky edge, contrasting the somber tone of the lyrics. The mid-section is this repeated, descending guitar/synth pattern part. It wouldn’t sound out of place on Discovery, but it’s also pretty 80s neo-classical indebted. By the end, the full scope of the narrator’s emotion is unleashed. The final section is an onslaught on both the lyrical and instrumental fronts.
“75$72”
“75$72” is one of our more focused explorations of the Corporate Pudding concept. The lyrics take the stance of a miser… someone who’s nestled themself well within the intricate structure of stock trading, or some other big biz profession… it doesn’t really matter what specifically. The theme is reflected in these almost comically simple, seemingly off-the-cuff phrases, like “Cufflink shirt and a bottle of wine,” or “Dump a few shares so we’ll all be fine.” They paint a vivid picture, or caricature, of this yuppie culture heyday. The instrumental ebbs and flows with copious swagger, which complements the blatant machismo of the lyrics.
Want more new music like this? Download the free idobi App and tune into idobi Radio, Howl, and anthm.
