it's a fitting summation of a remarkable career. [May 2025, p.36]

Her most gently ambitious and dazzlingly diverse album to date. [Apr 2025, p.32]

The highlights are revisitations of songs from Laughing Clowns - "Collapse Board", in Particular, is as vicious, mordant and highly strung as ever. [May 2025, p.32]

It's haunting, purgatory stuff. [May 2025, p.39]

It's a wild ride, by turns embracing and disorienting, its tracks ranging from brief instrumental stings to stately arias, though the highlights are the moments when Longstreth's pop sensibility is most audible. [Apr 2025, p.35]

Sable, Fable is an album that is felt as much as heard: the contraction of its opening tracks, the release of its love songs, the resolve of its closing numbers. [May 2025, p.34]

The record prompts leaning in, not least of all for the gentle, cantering insistence of "Have Heaven" and "Our Hearts In A Room", with its soft piano and brush work. [Apr 2025, p.29]

If "The Liquid Hour" is restless over a longer stretch, its conclusion is nonetheless charming. [Apr 2025, p.39]

Echoes of early MGMT also haunt the like of "Delete Ya", but he's at his best when he lends a touch of falsetto-sung acoustic soul to "Potion" and "Fly" floats off into wistful wanderlust. [May 2025, p.29]

In the end, it comes down to little moments of bliss, and those seven or eight words. "I don't know how I made it" Scott sings, as Taylor Goldsmith essays an angelic harmony. "but I made it". As a funeral march, it's a humdinger. [Apr 2025, p.22]

Though still hyper-literate, the sound away from the semi-spoken ballads tends less frantic than The Hod Steady, from the Cars-like new wave of "postcards" to the distinctly Springstonian "Luke & Leanna". [May 2025, p.29]

It's relentless, formulaic and irritating - and although things improve hugely when they drop the bombast on later tracks such as "where It Belongs", "Blood On The Page" and the gorgeous "Carry On", by then it's almost too late. [May 2025, p.33]

Melodic beauty at times gives way to oversweet twinkling, but "Modigliani" and "Most Wanted Man" are winners. [May 2025, p.29]

Lowering and exquisitely lucid opener "The Returning Angel" is worlds away from the subtle six-string abstraction and percussive pizzazz od "The Bag" - typical of the record's range. [May 2025, p.28]

Bulat's reliably warm-hearted songs still benefit from the rejuvenating effects of the twinkling synths that fill "Spirit" and "Laughter". [May 2025, p.28]

Captivatingly widescreen stuff. [May 2025, p.27]

Listeners anticipating some sort of shoegaze supergroup will be neither entirely wrong nor remotely disappointed. "A Different Girl" and "8th Deadly Sin" especially demonstrate that Berenyi retains her knack for wrapping languid melodies around waspish lyrics. [May 2025, p.28]

By "Carousel", the feedback feels cleansing, as authentic anti-heroes and alter-egos merge with the purging heaviness. [Apr 2025, p.35]

Often have a touch of the Broadway musical to them, but some are great. .... But it's only on "When This Old World Is Done With ME", a hymnal elegy where a weary-sounding Elton accompanies himself on piano, that we get a glimpse of genuine emotion. [Apr 2025, p.32]

The best tracks revisit some older collaborations: "Hildebrandlied" is an acid house belter while Belgian techno producer Fabrice Lig hits the synth-pop jackpot with the Pet Shop Boy-ish "Cinema". [May 2025, p.31]

Awash with Crosby, Stills & Nash chemistry, 12-string trills and the Joni-inspired "Seemed She Always Knew". [Apr 2025, p.28]

"You Were The Ones I Had to Betray" is a heady opener, the title track is a rich stunner, while the brilliant, bittersweet "Yesterday's Hero" is a bold missive from a songwriter who is still producing some of his best work. [Apr 2025, p,39]

Songcraft conventions - choruses, recurring riffs - are daringly absent. On repeat listens, though, the meandering strands - from the dreamy acoustica of "Two Horses" and choral harmonies on "Mary" to the Philip Glass-like horns of "Nancy Takes The Night" - begin to stick, aided by frequently arresting lyrics. [Apr 2025, p.28]

It's a strikingly bold venture, and a refreshing take on the Roxy soundworld. [Apr 2025, p.29]

There's an enduring warmth to the record that comes from the fuzz of psychedelia that holds everything together. [Apr 2025, p.27]

The enigmatic ensemble head out on taut, Teutonic disco manoeuvres on "Dancing In Transit" before making like a feral 808 State as they imagine Raoul Duke and Don Quixote in conversation on "Raoul". [Apr 2025, p.35]

"Earth 1" demonstrates the band's ability to pursue any number of loopy tangents without losing the woozy charm that comes more strongly to the fore in the dreamier "Heaven 7". [Apr 2025, p.39]

Airy arrangements, wonderfully agile musicianship, songs pooled from numerous sources into flowing ensemble pieces. [Apr 2025, p.33]