The Line of Best Fit's Scores

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For 4,492 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: 4,038 out of 4492
  2. Mixed: 437 out of 4492
  3. Negative: 17 out of 4492
4492 music reviews
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    • 76 Metascore
    • 80 Critic Score
    The Early Years [EP]
    Whether The Early Years will turn out to be a document of Girl Band’s development at a particular time like France 98 appears to have been (the title certainly hints at it), or whether we can expect the album to expand on this particular minimalist palette remains to be seen. Either way, it’s an astonishing starting point.
    • 59 Metascore
    • 70 Critic Score
    European Soul
    To be sure, there are some first-rate potential singles hiding amidst the bombast.
    • 83 Metascore
    • 85 Critic Score
    Foil Deer
    This album makes you work, forces you to hit repeat not to relive sweet, instantly gratifying thrills, but to let it root into your brain to understand it better.
    • 72 Metascore
    • 80 Critic Score
    The Fine Art of Hanging On
    The Fine Art of Hanging On isn’t entirely free of faults. Hemming and co's way with the more downcast material is so compelling that, for all their strengths, some of the jauntier material seems lightweight in comparison.
    • 71 Metascore
    • 70 Critic Score
    Kindred
    Kindred is a potent reminder of his prowess as a writer, delivered in a quick, forthright burst; it’s not the finest showcase for the sheer diversity he’s capable of as Passion Pit, but it does stake a claim--context considered--for his ongoing importance.
    • 72 Metascore
    • 80 Critic Score
    What For?
    What For? is slightly less varied than previous releases and exist just add to the gestalt of a ‘rock’ album. Thankfully, though, What For? ends on a high point.
    • 73 Metascore
    • 70 Critic Score
    Era of Manifestations
    The album’s many incongruous textures are sensory experiences: formless and visceral and not always easy to connect to. People of the North produce collisions rather than compositions, and those of us unable to embrace the tumult likely won’t appreciate their music.
    • 62 Metascore
    • 80 Critic Score
    Living Fields
    Living Fields achieves that rare feat of giving electronic music a beating heart, and is without a doubt one of the best records of its class this year.... And although Portico as musicians are still pushing themselves to new places, they’re not quite pushing the listener as far as they used to.
    • 73 Metascore
    • 80 Critic Score
    Damogen Furies
    It’s not for the faint hearted, and its point isn’t to make you smile. But if you’re up for the challenge Damogen Furies is a steaming black shot of adrenaline.
    • 80 Metascore
    • 75 Critic Score
    Sound & Color
    It is both brilliant and uneven. It defies expectations without disrupting the status quo.
    • 72 Metascore
    • 80 Critic Score
    Ripe
    Ripe is much less coherently pieced together than a Field Music record--as much as one can be, finding something special in the loose construction around a common idea--but therein lies the magic.
    • 83 Metascore
    • 85 Critic Score
    White Men Are Black Men Too
    Young Fathers had nothing to prove in 2015, which makes White Men Are Black Men Too such a start to finish joy to listen to. Even the tail end of the record is packed with surprises.
    • 76 Metascore
    • 85 Critic Score
    Darling Arithmetic
    In Darling Artihmetic Conor O'Brien has put together his best album under the Villagers moniker.
    • 84 Metascore
    • 60 Critic Score
    Asunder, Sweet and Other Distress
    Asunder, Sweet and Other Distress’ is good enough, by post-rock standards. But it really falls short of the bar that GY!BE set themselves before they took a break from the game.
    • 75 Metascore
    • 70 Critic Score
    Not Real
    Consistently intriguing and occasionally glorious, Not Real feels like a genuine step forward.
    • 67 Metascore
    • 50 Critic Score
    The Day Is My Enemy
    We were promised an album of violent thrills, but we just have The Prodigy on auto-pilot here.
    • 81 Metascore
    • 80 Critic Score
    Ivy Tripp
    Cerulean Salt managed the compelling trick of being so devoutly personal it felt universal. It's possible that in moving to obscure this personal element in her music, Crutchfield has found an even more profound way to make it clear that we're all on this Ivy Tripp together.
    • 71 Metascore
    • 80 Critic Score
    Trick
    Overall, Trick is reminiscent of those rare enjoyable hangovers--contemplative, contented and tranquil. And like those hangovers, it is unusual and a delight.
    • 69 Metascore
    • 75 Critic Score
    Dark Red
    You could argue that Dark Red is a bit samey in places, but that's kind of the point.
    • 78 Metascore
    • 85 Critic Score
    Fast Food
    Fast Food isn’t as labyrinthine as her debut--exits are neon-lit fire escapes rather than barricaded doors--but it is just as powerful.
    • 79 Metascore
    • 80 Critic Score
    Beat the Champ
    Theatrical, impassioned, and occasionally heartbreaking, Beat The Champ distills the very essence of classic Mountain Goats into another compelling album.
    • 74 Metascore
    • 80 Critic Score
    Deeper
    It’s sharp, the beats are punchier, and by utilising similar methods to production as techno, he's made his best album yet.
    • 78 Metascore
    • 70 Critic Score
    Culture of Volume
    Where Culture of Volume excels it is a progression and refinement of prior work. But for all its ambition, it’s a showreel of promise and potential rather than a cohesive whole.
    • 78 Metascore
    • 75 Critic Score
    Makes a King
    There’s no doubt that it’s a more sober affair than their previous work, but as a snapshot of a country in turmoil, it’s a weighty, sometimes euphoric and completely compelling encapsulation of time and place.
    • 71 Metascore
    • 80 Critic Score
    Pleasure Boy
    These eight tracks will reward familiar fans but Cohen’s music is worthy of a much wider audience.
    • 81 Metascore
    • 70 Critic Score
    I Don't Like Shit: I Don't Go Outside
    I’m almost certain that this project won’t be as critically or commercially as successful across the board as Doris was. But I doubt Earl really cares; the art comes first, and as a result, Earl’s produced an album that’s concise, consistent and cerebral.
    • 78 Metascore
    • 85 Critic Score
    Undertow
    Their second album continues the work of the first, a yardstick for the heavy guitar sound, and is in its own way as hard hitting, visceral and effortlessly brilliant.
    • 75 Metascore
    • 80 Critic Score
    Bashed Out
    It’s hard to find fault with Bashed Out; timeless and completely modern all at once, Stables might have taken a little bit of time to hit her stride with This Is The Kit but this combination of players has helped her realise a vision of sorts: it’s as lucid a record as you’ll hear all year.
    • 78 Metascore
    • 85 Critic Score
    Escape From Evil
    In confronting their own personal heartbreaks and terrors, she and her bandmates have created their most engaging and universal album to date.
    • 90 Metascore
    • 85 Critic Score
    Carrie & Lowell
    Still, despite its light-handed approach, Carrie & Lowell strikes with a sort of urgency unparalleled across the composer's 15-year career. Each song feels like a demon Sufjan simply had to face sooner than later.
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