The Line of Best Fit's Scores

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For 4,495 reviews, this publication has graded:
  • 64% higher than the average critic
  • 4% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 3.8 points higher than other critics. (0-100 point scale)
Average Music review score: 77
Highest review score: 100 Adore Life
Lowest review score: 20 143
Score distribution:
  1. Positive: 4,040 out of 4495
  2. Mixed: 438 out of 4495
  3. Negative: 17 out of 4495
4495 music reviews
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    • 71 Metascore
    • 70 Critic Score
    Hobo Rocket
    Hobo Rocket may not be the band’s best album to date, especially in light of their super-tight standout Beard, Wives, Denim--but, if the question is whether its rough, shambolic sound makes you think it’d be completely off-the-chart in a live setting... absolutely yes it does, and that’s really the aim of it.
    • 71 Metascore
    • 80 Critic Score
    Heaven Upside Down
    [2015’s The Pale Emperor] was the most revitalised he had sounded in years. That energy hasn’t flagged an inch on Heaven Upside Down.
    • 71 Metascore
    • 60 Critic Score
    Redcar les adorable étoiles
    Notably absent from Redcar les adorables étoiles is the sense of exquisite, crystalline vision present in Letissier’s prior work. Perhaps this lack is only a function of the production style, featuring reverb-soaked vocals, rambling melodies, and spacey synthesizers.
    • 71 Metascore
    • 90 Critic Score
    Grapefruit
    With Grapefruit he’s has shown an ability to take the fabric of rock n roll to other dimensions, to surprise, to confound. At times this means it’s pretty heavy going but it’s never boring. It’s wildly ambitious, challenging and wonderful.
    • 71 Metascore
    • 75 Critic Score
    Making Time
    For a project Woon spent four years on, Making Time is a surprisingly breezy listen. It feels a bit slight at times, especially given the lack of variance in tempo, but it’s hard to find much fault with this collection of smart, soulful work.
    • 71 Metascore
    • 85 Critic Score
    Thr!!!er
    THR!!!LER is a significantly more organic record, one where picturing the band having the time of their lives bashing it out in a practice space requires no effort at all.
    • 71 Metascore
    • 60 Critic Score
    Master Mix: Red Hot + Arthur Russell
    At its worst, Red Hot + Arthur Russell shows up the limitations of the cover-album-as-form, but at its best, it's a thrilling tribute to a none-more-singular artist.
    • 71 Metascore
    • 90 Critic Score
    Lighght
    He’s produced his finest work to date.
    • 71 Metascore
    • 85 Critic Score
    Guadalupe Plata (2015)
    You might not speak Spanish, but great music is universal and this, is unequivocally that.
    • 71 Metascore
    • 80 Critic Score
    Machineries of Joy
    Learning the lessons of its predecessor, then, album number 5 is an intelligent distillation of everything that people cherish about British Sea Power and what makes them a truly Great British rock band.
    • 71 Metascore
    • 60 Critic Score
    Offering
    Draped in synths and bouncy, Top 40 bass lines, Offering turns out to be a lacklustre effort from a group once smothered in critical praise and year-end listings.
    • 71 Metascore
    • 70 Critic Score
    Civic Jams
    Though the album was written before the effects of a global pandemic bedded in, its motifs of isolation and distance speak clearly to our current moment – mourning for places to gather hit hard by the actual and symbolic sterilisation of public space.
    • 71 Metascore
    • 70 Critic Score
    Massey Fucking Hall [Live]
    What makes Massey Fucking Hall an overall success is that it represents a particularly visceral aspect of live performance - not the communion with other fans, or the technical achievement that comes with a particularly slick stage show, but instead the primal joy of noisy, boisterous rock and roll.
    • 71 Metascore
    • 75 Critic Score
    Heard It in a Past Life
    The magic by which we were all spellbound in those early days remains, now augmented by a newfound range of diverse influences. Rogers writes anthems for the modern age, with all the paradoxical feelings of empowerment, anxiety, heartbreak and growth that that entails.
    • 71 Metascore
    • 70 Critic Score
    Stealth of Days
    Even if its emotional distance pushes it a bit too close to an intellectual exercise for comfort, Stealth of Days remains a fascinating and rewarding listen, whether or not you’re an R&B nostalgist.
    • 71 Metascore
    • 70 Critic Score
    Suck My Shirt
    There are certainly traces of the band's past traits, except this time they err more on the side of being endearing quirks than being the slightly off-putting extras they once were.
    • 71 Metascore
    • 80 Critic Score
    Such Pretty Forks in the Road
    2020’s Morissette is as emotional as ever and her songs are incredibly heartfelt.
    • 71 Metascore
    • 80 Critic Score
    Afraid of Tomorrows
    A strong love and fight for life and its experiences drives this album forward.
    • 71 Metascore
    • 65 Critic Score
    Bass Drum of Death
    His self-titled effort amounts to little more than the sound of him treading water; it’s every bit as fun and energetic as GB City, and the chaotic live shows aren’t likely to see a change of pace any time soon, but there’s practically nothing in the way of progression here, either.
    • 71 Metascore
    • 60 Critic Score
    Forgiveness Is Yours
    It changes its arm in a myriad of directions, with only a few really working, but they remain a band set apart from those around them, even if here they stumble.
    • 71 Metascore
    • 60 Critic Score
    Past Lives
    The frustrating thing about Past Lives is that it simply sounds like good music. It is not bigger or smaller than the sum of its parts – it’s exactly that. The members got the recipe just right, but it doesn’t leave much of an aftertaste.
    • 71 Metascore
    • 35 Critic Score
    All Your Favorite Bands
    All Your Favorite Bands is plenty polished, but scratch the surface and there’s close to zero going on beneath it; it’s the kind of record that you’re in danger of forgetting before it’s even finished playing.
    • 71 Metascore
    • 40 Critic Score
    Black Radio 2
    Black Radio 2 just falls short of being anything more than generic sounding pop, produced by a jazz trio tinted by success.
    • 71 Metascore
    • 70 Critic Score
    Paper Mâché Dream Balloon
    The tempos are brisk, the mood is chirpy. No, make that chirpy chirpy cheek cheek. Keep it at, though, and much, much more compelling depths soon emerge.
    • 71 Metascore
    • 65 Critic Score
    Death Becomes Her
    In its finest moments, it demonstrates the potency of experimental club music--dynamic, disorderly and charged with emotion. Sadly, a chunk of tracks amount to more of an endurance test, one which some listeners will simply nope out of.
    • 71 Metascore
    • 75 Critic Score
    Pollinator
    The group’s first LP since 2014’s Ghosts of Download plays brilliantly on their talent for blending genres and turning melancholy into melody. It’s a winningly astute addition to a catalogue too clever to be pinned down to a definitive style.
    • 71 Metascore
    • 65 Critic Score
    Wrong Creatures
    Wrong Creatures has just enough of what made BRMC right, and a few tantalisingly brief flourishes to boot, but it's a balance that can only be struck for so long.
    • 71 Metascore
    • 70 Critic Score
    Finally Free
    While Finally Free has a handful of songs that are excellent and some that are simply okay, the vexing dilemma points back to Romano himself. It’s as though he isn’t quite sure the direction to take and that hesitance alone is off putting.
    • 71 Metascore
    • 80 Critic Score
    Man on the Moon, Vol. 3: The Chosen
    While it might take a few listens to make sense of the album's seemingly muddled introduction, one thing is clear: by the end of this hour-long journey, Cudi has reached his destination.
    • 71 Metascore
    • 80 Critic Score
    Gumption
    Ultimately, for as talented of a musician as Miller is, her greatest feat on her first proper LP is creating a distinct feeling and sense of place that's possible only because every element here works in sync.
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