...seems to sound ok ...to resolve if neccessary
I think this needs to be explained: a bona fide suspension and its resolution are ideas that come from counterpoint. That's an old practice going back to composers like Bach and Palestrina!
The foundation for a suspension is regarding intervals like the second, fourth, or seventh as dissonances (think: sounds not OK) which should move to consonances (think: necessary to resolve to something that sounds OK.) Usually the dissonance is resolved by the upper voice moving down by step to a chord tone in the next chord, but there are several different ways it can be handled. That's all about a centuries old practice that developed in the Church.
In the modern era, intervals of the second, fourth, and seventh aren't necessarily considered dissonances, certainly not dissonances requiring strict treatment. Pop and folk are fairly conservative in handling dissonance, but jazz is much looser. Jazz treats sevenths and ninths mostly as chord tones, and other tones are used for "tension" but are not necessarily resolved with the formality of a suspension. More progressive/experimental rock styles might do similar things. There is also quartal/quintal harmony where chords are built of fourths/fifths rather than thirds which reframes the whole question of what are chord tones and therefore what are dissonant tones.
Theory won't tell you which way to handle dissonance. It's a matter of taste and style. If you do decide you want to treat those
sus4 chords as dissonances and resolve them, you leaning toward a traditional style. If you use them more freely, it's more modern.