What's missing is just a little more "WTF?" [Sep 2013, p.90]

Perfection, though, remains unattainable thanks to Barney Sumner, whose enthusiasm is such that he adds an uncommon amount of whoops and yelps to songs that really do not need any. [Aug 2013, p.89]

The predictable impression of a rich man's plaything cast with superior company remains. [Aug 2013, p.84]

Some fans may miss the hobo simplicity of yore. [Summer 2013, p.92]

Strange Fruit is a nervy choice, respectfully done. Like most of the record, it's also pretty redundant. [Summer 2013, p.92]

Inviting famous friends to help him give the songs a fresh coat of paint doesn't, for the most part, make any real impact. [Summer 2013, p.91]

The stumbling block is that too many songs here never develop pasta dino-stomp riff, and that the vocals can be a little shrill. [Summer 2013, p.89]

The worst thing is, for all the nauseating country-rock-lite choruses, this is agonisingly catchy. [Summer 2013, p.89]

Musically, it's so tried and tested it's almost frictionless. [Jul 2013, p.92]

At best, for a former superstar, returning to the creative fray, the record is mediocre. [Jul 2013, p.88]

The result is both shamelessly derivative and gloriously entertaining. [Jul 2013, p.88]

As equipment hums, bass rumbles and Robb bellows over joyfully insistent melodies, it becomes clear that The Terror Of Modern Life is the sound of a band hopelessly in love with the music that made them. [Jul 2013, p.88]

Magnetic may veer close to Maroon-5-at-their-very-best territory, but let's not get sniffy. It's a life affirming, joyful record. [Jun 2013, p.91]

Clapton's guitar work [is] sizzling and defiant where elsewhere it merely simmers. [May 2013, p.88]

Love Triangles Hate Squares is a forceful blast of passion-fired pastiche, but never quite escapes feeling like a cheap holiday in other people's history. [May 2013, p.87]

A great version of The Fugs' Carpe Diem aside, Everybody Loves Sausages feels like an in-joke that was never funny to begin with. [May 2013, p.87]

It's every bit as sprawling and dramatic as you'd expect from something set to be followed by a four-part comic book expanding on the story within the songs. [May 2013, p.86]

It's still awesome, of course, just don't expect to enjoy it. [May 2013, p.85]

For all the loving homages to past recording techniques, they sound laboured and bored. [May 2013, p.84]

Mostly it works. [Apr 2013, p.94]

Intriguing stuff, but Stereophonics are incapable of shredding the trad rock rule book for an entire album. So the rest of Graffiti is pitched firmly in their beige rock comfort zone. [Apr 2013, p.93]

This is classic, turn-of-the-century-style emo for those old enough to remember the scene before the eyeliner an hairspray brigade came along and spoiled it all for everyone. [Mar 2013, p.98]