Stepping up from four letter words
After a lot of suspense, June 12th 2026 is set to be the date for the release of Olivia Rodrigo’s third studio album, ‘you seem pretty sad for a girl so in love’.
In the past, she’s been known for titling her previous albums with four letters and no more; Sour (2021), and Guts (2023). This trend had fans guessing more four letter words that could possibly be the name of her third album based on the hints she was dropping, but lo and behold, Olivia announced on April 2nd 2026 that her next album was a step in a whole new direction. Five days later, the first single ‘Drop Dead’ was announced, and it was released for streaming on the 17th. Along with two different music videos and a live debut of the single at Coachella on stage with Addison Rae, her newest song shot straight to #1 on the ARIA charts. It also debuted on the #1 Spotify charts with over 10 million streams, making ‘Drop Dead’ the biggest of Olivia’s career to date.
Despite assumptions that the single would be an angry ballad based on its title, it was a pleasant surprise to learn that Olivia’s new single was a preppy, catchy love song about whimsical first dates and the hopes that come with it. The first released music video – which has a much higher production and quality – gives off the energy of a teenager dancing along to music in their room, except it’s filmed at the castle of Versailles, which ties in with some of the lyrics and makes it all so much more ethereal. The newly released single and the upcoming album are accompanied by many marketing aspects, the most popular one being a wall painted in the new era’s aesthetic where fans can go to stick their used chewing gum. A small nightmare for any germophobes, but a fun idea nonetheless.
Office dog – Artist profile.
Office dog’s sound is profoundly sad, but there’s anger there too. Their music is heartfelt and distorted, it’s gritty and full of bass. It makes you want to bury your head in the pillow and punch the bed.
The Office dog members hail from the cold streets of Dunedin, but have since redeemed themselves slightly by moving north to Auckland (a little too far north; they must have missed the turn-off for Kirikiriroa). Forming shortly after their move, they found their feet in the local industry and have since toured the States, with an EU/UK tour close at hand. I’m not joking, it’s like fr next week.
They’ve created a sound that feels like an Aotearoa autumn. It may be that the cold is setting in, and the dark is coming earlier and earlier. There’s a yearning inside you that you can’t put your finger on. It’s late nights spent huddled in the lounge with your flatmates, feeling the smallness of this place closing in, trying to ignore the smallness of this time we share together. It’s comforting, indulging in the sadness and melancholy of it this season is part of the experience.
Their recent single Front Row Seat explores the constant barrage of news, the endless consumption of terror and strife that leads to paralysis, desperate to disengage, but unable to tear your eyes away. It has an upbeat undertone, but his monotone voice and desperate vocals pull you down as he pleads for an end to the cycle, unable to let himself look away.
Their rhythmic guitar hypnotises you in bed, makes you forget your train of thought, and gets you lost in its heaviness, like a weighted blanket on your mind. Their percussion is just technical enough to be interesting and engaging, without taking over. Their lyrics are poetry; you’ll get tangled in the meaning of it. Go forth and listen.
