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Fortunately, Helene Brunæs, frontwoman of the emo\/pop-punk sensation Lille Venn, jumped on board without hesitation. Despite her busy schedule with regular releases, a US tour, and gigs alongside pop stars like Sigrid, she found time to join Onsloow's ambitious plans. Her warm, airy vocals perfectly match Onsloow's universe of catchy power pop, quirky indie rock, and energetic pop-punk. The new album even features hints of country and Americana. Over several sessions with producer Marius Ergo, the album took shape, with the band focusing more on details and arrangements than ever before. 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It brazenly steeps in the tension and grief that accompanies evolution - even at the risk of drowning in it completely.\u003c\/p\u003e","brand":"Tiny Engines","offers":[{"title":"LP - Topaz","offer_id":51754955505995,"sku":"R1549-2387","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed_55.jpg?v=1746185271"},{"product_id":"pleaser-mn","title":"Pleaser","description":"\u003cp\u003eMainstays of the D.C. DIY scene, Pretty Bitter live up to their name. Masters of all kinds of dissonance, they juxtapose stories of haunting and heartbreak with dazzling pop-rock arrangements. Pretty Bitter makes music that gets the emo kids dancing. They’re unafraid to infuse their blistering breakdowns with hits of disco and synthpop—and that’s exactly what they’ve done on Pleaser, their sophomore album, co-produced by Evan Weiss (Into It. Over It., Pet Symmetry) and Simon Small (Strawberry Boy) and out July 25th, 2025 via cult favourite indie label Tiny Engines. Following a string of ethereal singles, their 2022 debut Hinges formally introduced Pretty Bitter and their dreampunk to a rapidly growing audience. Fearlessly led by Mel Bleker and sharing studio and touring members with D.C. punk all-stars Ekko Astral, Pretty Bitter has been embraced by DIY fans far and wide. On Pleaser, Pretty Bitter have amped up the drama of their lush arrangements—a match made in heaven for the emotional ferocity of Bleker’s lyricism. “If everything is out there, nothing’s embarrassing,” they sigh on “I Hope You Do,” expertly toeing the line between the personal and the universal over bright, bubbling synths. On the arresting closer “Outer Heaven,” Bleker sings “Time isn’t a lover in the way it likes to play \/ I’m getting older, every due I pay \/ Time isn’t a bandage in the way you always say \/ I won’t be abandoned by myself again this way.” Their observational, heart-on-sleeve songwriting is as effortless as their flittering between the jangly, dreamy inclinations of rock, pop, and folk. 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The band's new album, \u003cem\u003eLunger\u003c\/em\u003e, doubles down on that, proving Stay Inside's commitment to bold production, conceptual arrangements, and even bigger hooks. On the Brooklyn genre-benders' first album for Tiny Engines, the band leans hard into their unique mix of indie and emo but never sticks to a single formula. Singer Chris Johns howls with a post-punk swagger, swaying between desperation for genuine connection and the manic confidence of a broken-hearted man with nothing to lose. Stay Inside's restless spirit pushes genre boundaries to the side as the band moves effortlessly from lively jangle pop to dark Americana twang to heavy, fuzzy grunge. Stay Inside continues to seamlessly incorporate horns into the mix, including their captivating live shows. From playful to menacing, the expansive instrumentation highlights the band's impressive evolution. Stay Inside has made quite the journey in their career from desolate post-hardcore to the wide open spaces encompassed on \u003cem\u003eLunger\u003c\/em\u003e. The band has become masters of their craft, and \u003cem\u003eLunger\u003c\/em\u003e is striking in its originality and depth. But perhaps the most exciting aspect here is what will come next for the band. 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The songs move between freedom and grief, where moments of beauty and ecstasy are closely tied to confusion. Across ten songs written by the band and recorded in Oslo with co-producer Jørgen Smådal Larsen (drummer of Norwegian indie legends Lukestar), \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eEden\u003c\/em\u003e embraces emo as instinct rather than genre. If something felt true, they didn’t overthink it. The process was fast and intuitive, and some songs came together in a single day. Musically, the album explores the tension between the two members’ backgrounds. Frontman Anders Magnor Killerud comes from a singer-songwriter tradition shaped by Elliott Smith, Judee Sill, and Sufjan Stevens. Kristofer Staxrud brings the intensity and urgency of his teenage years in hardcore bands, grounding the songs in sharp rhythms and heavy guitars. The album opens with RAPTURE BOY, a restless indie-punk track that echoes early 2000s records like Frengers and Silent Alarm. SINCE 94, the lead single, is a blast of fuzz-heavy shoegaze-punk, while WE WILL COLLIDE leans into dreamy '90s fuzz-pop. Although they’re a duo, Tape Trash wanted \u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eEden\u003c\/em\u003e to carry a communal spirit. Inspired by how they first bonded over the musical collective Broken Social Scene, Anders and Kristofer invited friends into their rehearsal space to record gang vocals after nights out in Oslo. Tape Trash set out to make something heartfelt and sincere in a musical landscape that often feels shaped by cynicism and ironic distance. They chose openness and emotional risk instead. 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Out January 2026 on Tiny Engines, the record invites listeners to feel more than they understand, to sit inside the ache without needing to fix it. It's not about outcomes, it's about the process, the moment, the motion. What began in 2016 as Krista Holly Diem’s solo project has grown into a fully collaborative force, rooted in Brooklyn’s DIY ethos and emotional intelligence. With longtime members Dave Diem (bass), Drew DeMaio (guitar), and new drummer Colin Brooks (Samiam), LAPêCHE explores new sonic terrain on this album. The band trades post-punk sharpness for gothic shimmer, shoegaze drift, and melodic minimalism. Produced by Alex Newport (At The Drive-In, Bloc Party, Death Cab for Cutie) and recorded in Joshua Tree, the record carries a desert stillness and spiritual charge. Much of this emotional clarity comes from lived experience. Krista and Dave, who are married and in long-term sobriety, bring a shared language of healing and presence to their songwriting. 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Beyond that, why would the zoomers that now intently follow not try and chase the high of hyperreality in a bygone world that looks, to them, downright utopian when compared to the present? What sets Footballhead’s capital-R Rock sound apart from contemporaries is - in addition to just sounding better - a desire and an ability to thread the needle between paying homage to a quasi-idyllic past and pursuing an earnest future. Footballhead wears their 2000s-era influences on their waffle-knit longsleeves, with power chord drives and pummeling choruses, all sequenced together like the teeth of a skeleton key able to unlock core memories for people who’ve either been there or people who simply wonder what being there was like. Both the anthems and ballads on \u003cem\u003eWeight of The Truth\u003c\/em\u003e are waxed and polished to perfection like the lip of a favoured skatepark ledge. 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