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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    • 69 Metascore
    • 30 Critic Score
    Notes on a Conditional Form
    Notes has no such common context, and ends up feeling flat, directionless and inessential, where its forebears felt vital, worthy of devoting a life to. For a band with proven dexterity in deftly capturing the nuances and quick changes of contemporary conversation, it is disheartening to witness them with nearly nothing of note to say.
    • 61 Metascore
    • 30 Critic Score
    Blonde
    Blonde is a crushingly unoriginal piece of work, weirdly proud of its derivative nature, and anybody who wanted to listen to this kind of album could easily find a raft of better records in the last few years alone.
    • 66 Metascore
    • 30 Critic Score
    Xscape
    Seventy-five percent of the tracklisting consists of lovingly bastardised fan-favourite versions of demo tracks that have been online for up to eleven years.
    • 56 Metascore
    • 30 Critic Score
    Montage Of Heck: The Home Recordings
    The Home Recordings largely serve as a further step back along the creative path, to a point where we either see songs at their most infantile stage or at a crossroads where Cobain, the tireless perfectionist, probably realised he could take them no further.
    • 37 Metascore
    • 20 Critic Score
    143
    Nothing sparks on 143. It’s all about easy endings and uncomplicated emotions, thus targeted for basically anyone, but what she doesn’t know is that the majority aren’t as tasteless now. The comeback singles are met with brutal reception in every direction. “Wonder” is the only one with replay value, which features her child’s voice and perhaps hints at their undetermined gender identity, leaving it up for them to decide whenever ready (“Beautiful girl”, “Beautiful boy”). The truth is – and she must know even if it hurts her – everything else signals a career nosedive from which her reputation might not survive. On the bright side, though, 143 adds more shade to a colourful year of pop music.
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