Tim dog

Anthology of ex-Jayhawk's downhome career shift

Bleak British comedy from Dogme defectors is brave and affecting

Lively, multi-layered Dublin-set comedy drama

Low-key Argentinian road movie of sorts from director Carlos Sorin. A lost dog provides the impetus for an old man to amble off on a slow journey: he's not really looking for doggie, he's hunting meaning and a decent way to die. New friends shuffle about and there's much sentiment which would be panned if this was a Hollywood flick.

Set fire to anything. Set fire to the air," urged John Cale at the beginning of Music For A New Society. That 1982 masterpiece was the evisceration of a man whose fractured psyche was mirrored perfectly by songs arranged in jagged, improvisatory style; a knife held at the throat of sweetness. Now he reappears with his first album of songs for seven years, and his finest album in any genre for over two decades.

It's been a long crawl back to credibility for prog titans Yes, but things seem to be shifting in their favour of late. There's a new wave of young bands emerging, unafraid to wear their prog influences on their sleeves (The Mars Volta, Cave In, Beecher) and the old sods themselves are attracting 'celebrity' plaudits (The Flaming Lips, PiL's Keith Levene, Vincent Gallo). This is as it should be—contrary to post-punk dogma, Yes were never a joyless listen.

Despite recording together for 14 years (much of that as part of The Black Dog), Ed Handley and Andy Turner still explore the syntax of electronica with awe and excitement. Tracks like "Crumax Rins" or the haunting synth fugue "Cedar City" may hint at the tenebrous dissonance of their earlier incarnation, but generally Spokes is passionate and optimistic.

Lukas Moodysson's bleak tale of a Slavic girl's suffering

"Thirteen big, salty tears," blurbs Black. "Like 13 little black dogs just born... ready to howl at the world"

Bowie's 26th studio album is heavy in many ways