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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    • 80 Metascore
    • 80 Critic Score
    Aşk
    It will be undoubtedly considered a ‘return to form’ for fans who might have felt a little aggrieved about Altın Gün’s turn towards a softer direction on their last two records, but for new listeners, this is a superb place to jump on the bandwagon and a perfect introduction to a world of music that they might not have experienced otherwise.
    • 80 Metascore
    • 90 Critic Score
    Formal Growth in the Desert
    As they continue to challenge conventions and push boundaries, while still being utterly and completely themselves, Protomartyr stand tall as a testament to the enduring spirit of innovation that defines Detroit's rich musical history.
    • 80 Metascore
    • 70 Critic Score
    One More Thing
    If the band are looking for a platform to build on, this could well be it.
    • 80 Metascore
    • 85 Critic Score
    Emmaar
    Emmaar [is] possibly the band’s most consistently satisfying album yet.
    • 80 Metascore
    • 75 Critic Score
    Hairless Toys
    Hairless Toys is no mere pastiche of a scene; there is no major departure in terms of style for Murphy. It is, however, a surreal and poignant exploration of an iconic cultural movement.
    • 80 Metascore
    • 80 Critic Score
    UGLY
    With a wholehearted desire to make music purely for himself, UGLY displays an artistic freedom regained, reconnecting with what drew him to music in the first place. It’s a creative direction that will most likely not stick around, but that’s what makes it that bit more authentic.
    • 80 Metascore
    • 80 Critic Score
    Julia with Blue Jeans On
    Like the image which adorns the cover, sometimes it’s good to just take in the wonder of the simple things, and the modest but pensive charm of this album is well worth getting lost in.
    • 80 Metascore
    • 85 Critic Score
    Pleasure
    Even though it’s Feist’s barest full-length, it’s also her most playful, her most consistently inventive. On the surface it sounds wafer-thin, but at its core there’s no shortage of heft.
    • 80 Metascore
    • 85 Critic Score
    Heron Oblivion
    Yes, notes and chords are fun and all, but these songs are precisely-controlled messes, and beautifully so. Simply put, Heron Oblivion is a guitar-centric record for those who thought Marquee Moon was too linear.
    • 80 Metascore
    • 70 Critic Score
    The Ooz
    The Ooz is a meandering, disorientating trip through punk, ska, jazz and hip hop--held together by Marshall’s menacing vocal sneer.
    • 80 Metascore
    • 90 Critic Score
    Invisible Cities
    It’s a record of successful explorations of musical avenues. The sparingly-used vocals enhance the instrumentation that, itself, moves between the minimal and the more full-blooded. A first rate illustration of growing musical ambition and inventiveness.
    • 80 Metascore
    • 70 Critic Score
    One Million Love Songs
    There are times throughout that Viscius appears at ease and elsewhere there are signs she’s simply exhausted and drained. All cried out. But as the album ebbs away with the hushed tones of her singing, “No one loves me anymore” on “No One” it’s as if a huge burden has lifted, finally.
    • 80 Metascore
    • 80 Critic Score
    Wu Hen
    Kamaal Williams’ Wu Hen knows what it is and what it doesn’t want to be. It pays respect to the music it’s imitating and iterating upon, in all of its many forms and in spite of it, it manages to carve out a space in the scenes for itself.
    • 80 Metascore
    • 90 Critic Score
    Build a Problem
    It looks at dodie from every angle, finding her at her most broken, joyous, angry and reflective, among instrumentals that capture the same conflicting pulls. Where Build A Problem succeeds most is translating these struggles into towering drama, making music to listen to closely, feel deeply, and champion loudly.
    • 80 Metascore
    • 90 Critic Score
    Perpetual Motion People
    Despite Furman’s own insecurities and wanderlust, Perpetual Motion People sounds like home.
    • 80 Metascore
    • 75 Critic Score
    #8385 (Collected Works 1983-1985)
    Minor gripes aside 8385 is a fascinating glimpse at what artists in the 80’s thought the future would sound like; this is the point where post punk electronica such as New York’s Suicide ends, and proto industrial-goth artists such of Ministry and Nitzer Ebb begin.
    • 80 Metascore
    • 75 Critic Score
    Always Foreign
    They feel more effective now that they’ve found a way to write as a focused beam rather than a eclectic lineup of individual musicians, and long-term followers will be thrilled by the album’s back half, which retains their well-established experimental bent.
    • 80 Metascore
    • 80 Critic Score
    7
    7 might not be their greatest moment (that right is still reserved for the utterly beautiful Teen Dream), but it is their most exciting.
    • 80 Metascore
    • 80 Critic Score
    Death Hilarious
    It’s a record that thrives on trust, experimentation, and the sheer joy of making a glorious, deafening racket together. It also respects its audience enough to be honest, to be fearless, and to deliver something unfiltered and real, bursting with personality. Pigsx7 have never sounded more essential.
    • 80 Metascore
    • 80 Critic Score
    SAVED!
    Hayter fervently straddles a line between proclamation and judgment, venting and preaching, deliverance and elitism. She is, perhaps, lost and saved at the same time, again wielding paradoxes with grace and ferocity.
    • 80 Metascore
    • 90 Critic Score
    Cartwheel
    He provides a gentle yet absorbing escape from the hypervigilance with which we patrol our own lives. 12 songs that are soft around the edges and wash over the listener in shades of sunset orange and pink, guitars morph and collapse in on themselves like the contents on a lava lamp.
    • 80 Metascore
    • 90 Critic Score
    After the Party
    After The Party showcases the band at their boldest and brightest yet.
    • 80 Metascore
    • 90 Critic Score
    The Clearing
    With each record, Wolf Alice return with more bite, a new story to tell, and new fans to invite into their world, The Clearing is no exception to the rule.
    • 80 Metascore
    • 85 Critic Score
    Hallelujah Anyhow
    The result is an album that's uplifting without stumbling into the saccharine-dosed forced jolliness that particular word might bring to mind.
    • 80 Metascore
    • 80 Critic Score
    Wraith
    It's a credit to the band's (newly streamlined to a trio) increasing ability to tie together the different strands and themes that have cropped up during their previous work that it all builds up into a cohesive, hugely arresting whole.
    • 80 Metascore
    • 75 Critic Score
    Swisher
    By the end of some heavy listening, you understand that they’ve found something more beautiful still, all the more so because it is hard won, but just as they’ve had to work to find it, so must we.
    • 80 Metascore
    • 80 Critic Score
    Heaven Knows
    With keen ears for melody, turbo-paced beats perspire, and episodic SFX rouses either pure revelry or contemplation. She’s on to a marvellous start.
    • 80 Metascore
    • 75 Critic Score
    Give My Love to London
    Charged with Warren Ellis’s plaintive violin, the cracked world-weariness of Marianne Faithfull’s voice imbues the song with real life and contemporary meaning and affirms that Give My Love To London is the album with which she is able to finally reconcile her past and present.
    • 80 Metascore
    • 80 Critic Score
    Reason to Believe: The Songs of Tim Hardin
    Reason to Believe serves as an ideal introduction to its subject’s works for newcomers, whilst sending converts back to revisit the timeless originals.
    • 80 Metascore
    • 85 Critic Score
    Primitive and Deadly
    This is properly heavy fare, a sound utterly bereft of light yet still richly, intensely, rewardingly musical that makes the evil posturing of the extreme metal posse seem even more daft.
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