Back catalogue: All genres

Review: This is the first Suede release with a co-writing credit for guitarist Richard Oakes, who succeeded Bernard Butler. Oakes is on the b-side 'Together', while the a-side - the best track on Suede's iconic second album Dog Man Star - is credited to the legendary plankspanker Butler. 'New Generation' is a beautiful blend of Manic Street Preachers-esque rock with Bowie and T-Rex-esque glam - it's a perfect pop song. Singer Brett Anderson is at his hooky and melodic best here. Meanwhile, 'Together' takes a more Stone Roses-y blues rock direction and it's tougher with more bile, but still majestic thanks to the lush wall of sound that Suede do so well, whilst retaining their hard rock DNA.

Review: If you roll the clock back ten years and more you'd be made to think you're crazy for saying Ty Segall will release country-inflected soft rock one day. He was making the very best feral sweaty garage rock quite consistently. But you know what? The new look suits him well and his Warren Zevon-era is cool. 'Fantastic Tomb' is a string and horn-laden romp that will liven up any home that's lucky enough to have it played within its four walls. The fallout from this will most likely be that the curtain is closing on all the neo-psych and garage rock and more bands are likely to follow in line with this type of sound. This is at the forefront of a new wave of country/Americana-tinged alt-rock that started when Black Lips did it ironically but is now gaining momentum in more sincere, yet still flamboyant ways.

Review: British singer-songwriter Shura has spent some serious time, effort and thought on I Got Too Sad For My Friends. Six years, in fact. During that period, she's clearly learned at lot about life, love, loss, and whatever other L-word you can think of that means 'maturity' to those in the know. The result is a spectacularly accomplished collection that reveals an artist at their creative peak. To date, anyway. Cornerstone of the record, and the very first single, is 'Recognise', and this is perhaps the strongest case in point. From whispy and whispered opening, through full, cacophonous bloom, it's a track that keeps us in a beautiful dark until its monumental, joyful reveal. Elsewhere, 'Ringpull' and 'The World's Worst Girlfriend' betray a clear penchant for classic 1980s pop, while the likes of 'Online' seem to float in on a serene cloud of gentile pianos and hovering strings.

Review: Alan Sparhawk isn't one for large crowds or the showy side of fame, yet over the course of his career, his influence has expanded far beyond his low-key persona. As the frontman of Low, the band he founded in the early 90s in Duluth, Minnesota, Sparhawk's distinct style has permeated not just indie rock but also the broader sphere of music that prizes depth over spectacle. The hallmark of Sparhawk's songwriting is the austere, almost minimalist beauty he coaxes from the sparsest of arrangements. His approach to music is inextricable from his sense of placeiDuluth's biting winters, its isolationieverything about the environment feeds into the slow-moving intensity of Low's sound. Musically, the album moves through a variety of textures, from the folk-tinged melodies of 'Heaven' and 'Get Still' to the raw emotional power of 'Screaming Song' and 'Don't Take Your Light.' The latter is particularly stirring, with its swelling fiddles and cello lines, embodying the depth of feeling that pours out during the recording. There's a certain urgency to the musician immediacy that comes from being in a room full of people who understand what it means to create together. The track 'Stranger' is imbued with an intimate, communal spirit, while 'Torn & in Ashes' builds on layers of banjo and mandolin, giving it a rich, earthy feel. Even as the sounds shift, there's an underlying consistency in the raw honesty of Sparhawk's voice and the way the band responds to it. Overall, the record a sense of continuity, reminding us that music, when made with those closest to you, becomes a vessel for lasting memories and support.