Back catalogue: Indie/Alternative

Review: Ashaine White's third EP, Cause For Concern, showcases her undeniable talent and solidifies her presence in the UK soul scene. The EP leads with 'White Flag,' a track already generating buzz for its soulful depth and Ashaine's commanding voice. Her vocal prowess, coupled with emotionally charged lyrics, makes this a great example at an artist who is being heralded as a true and unique artist in black music. The EP offers tracks like 'Hotel,' a smooth, introspective number, and 'All My Wrongs,' which delves into themes of regret and self-reflection. 'Brace Yourself' adds another layer of intensity, while 'The End' brings a haunting close to the collection, highlighting Ashaine's ability to evoke powerful emotions. A live version of 'Hotel,' recorded at Studio 13, provides a raw, intimate glimpse into Ashaine's live performance energy. With Cause For Concern, Ashaine White continues to establish herself as a rising star, blending soulful melodies with heartfelt storytelling.

Review: Jack White's Third Man Records are among the best in the business in turning people onto vinyl records and countering the model presented by streaming giants. Perhaps it's partly down to the White Stripes legend's early years as a restorer of vintage furniture, but whichever product appears with his Third Man brand on it has the look and feel of real craftsmanship, with a meticulous and stylish eye for detail. This new one-sided etched 7" - who needs b-sides? - is a real gem to have in anyone's collection as it oozes with Jack White's punk rock spirit and makes a real case for affordable single production. This loud, banging instrumental track originally came out on streaming services only in 2017 and was White's first track in three years at the time. White is at his viscerally entertaining best when he's at his heaviest, with the distortion cranked. And the signals emanating from his amp here sound like an indie-rock banging of the war drum, making for a fun yet furious two-and-a-half minutes.

Review: First released on streaming platforms last summer, Wilco's 'Hot Sun Cool Shroud' EP was uniformly praised by critics. Much more than a stop gap between albums (it arrived roughly 12 months after the outfit's lauded 13th studio full-length, Cousin), the six-track set bristles with inventiveness while flitting between styles and tempos. So, opener 'Hot Sun', a sticky slab of Americana-tinged jangly indie brilliance, is followed by the reverb and solo-laden alt-rock squall of 'Livid' and the gentle, string-laden swoon of 'Ice Cream'. And so it continues, with the fuzzy positivity and weary vocals of 'Annihilation' being joined by the pleasant, impossible-to-pigeonhole experimentalism of 'Inside The Bell Bones' and the twinkling, heartfelt melancholia of 'Say You Love Me'.

Review: Though prolific since emerging at the dawn of the millennium, White Denim have refused to settle into a specific sound, with main man James Patrelli flitting through styles, influences and inspirations (and band members) at a rate of knots. On the simply titled 12 - yep, the band's 12th album to date - Partelli and company subtly switch focus once more, this time with the help of his latest co-writer (and the band's synth player) Michael Hunter and a broad range of guest musicians. The results are bright, attractive and thoroughly enjoyable, with notes of tropical guitars and the work of highlife legend Ebo Taylor rubbing shoulders with nods to bossa-nova, Southern soul, jangling indie-rock and The Beatles circa The White Album.

Review: According to the band themselves, the Wombats' new full-length - the long-serving trio's sixth studio set in total - is their most "sophisticated and sonically adventurous yet", exploring lyrical themes of "socially awkwardness, internal strife and everyday LA life". It's certainly a musical departure, with the Liverpool-born band and producer John Congleton (best known for his work with St Vincent and Death Cab For Cutie) largely eschewing the synths and indie-dance influences of old in favour of a sound rooted in British "beat music" of the late 1960s, jangly 1980s indie-rock, and the Britpop era. It's a notable change in direction, but it works really well - as the bold, beautiful and undeniably catchy songs 'Can't Say No', 'Sorry I'm Late, I Didn't Want To Come' (a future anthem for socially anxious misfits everywhere in the same mould as Pulp's 'Mis-shapes') and the surprisingly funky 'Blood On The Hospital Floor'.

Review: For the first outside of the US and Australia, the World Party best of is released. The band, led by late, great multi-instrumentalist ex-member of The Waterboys Karl Wallinger, who remains one of the finest musicians in British pop history. The group, which included Robbie Williams' musical director Guy Chambers for some time, dealt in the best kind of pop music, borrowing from such a diverse pool of influences to create something timeless. A standout hit on here is as relevant now as it was back in the 80s when it was first release: 'Ship of Fools' is about the greed of our leaders and is depressingly apt. Meanwhile, 'She's the One' was famously covered by Robbie Williams and it's testament to the underappreciated genius of Prestatyn-raised Wallinger that it's one of Williams' best known songs. He's a monumental talent whose legacy will resonate for generations.