The Line of Best Fit's Scores

  • Music
For 2,392 reviews, this publication has graded:
  • 68% higher than the average critic
  • 4% same as the average critic
  • 28% lower than the average critic
On average, this publication grades 3.3 points higher than other critics. (0-100 point scale)
Average Music review score: 76
Highest review score: 100 Start Together [Box Set]
Lowest review score: 30 Sheezus
Score distribution:
  1. Negative: 9 out of 2392
2392 music reviews
    • 70 Metascore
    • 70 Critic Score
    Uniform Distortion may be the most straightforward sounding a set of Jim James songs has ever released, but they’ve somehow absorbed the distortion of today’s world and turned it into something we can all make sense of, and in which we can seek some solace.
    • 82 Metascore
    • 75 Critic Score
    It becomes powerful when given proper care and attention.
    • 84 Metascore
    • 85 Critic Score
    Lotz knows how to craft her work, using every moment to her advantage resulting in an album that’s an absolute indie-emo masterpiece.
    • 87 Metascore
    • 85 Critic Score
    This is a record that throbs and vibrates with an infectious pulse even when the instrumentalists aim for the outer reaches of lightning-speed look-at-me flurries of virtuoso showing-off.
    • 87 Metascore
    • 75 Critic Score
    “It’s Okay To Cry,” “Ponyboy,” and “Faceshopping,” open the album in that order balancing SOPHIE’s pop instincts with her weirder ones. “Faceshopping” is a highlight, both visceral and compulsively listenable, using Photoshop as a metaphor for becoming more comfortable with her body.
    • 81 Metascore
    • 85 Critic Score
    Mental Wounds is a spectacular display of two bands continuing to push expectations and who’re willing to be the flagbearers for revision.
    • 82 Metascore
    • 85 Critic Score
    Each track is like a new stride upon their voyage, each sound a new experience or emotion.
    • 81 Metascore
    • 85 Critic Score
    Liberated from certain commercial expectations of their primary bands, MIEN have made an album that experiments freely without sacrificing broader appeal.
    • 77 Metascore
    • 80 Critic Score
    Call the Comet finds Marr in his element, making articulate, direct rock ‘n’ roll with an ultimately optimistic sense of purpose.
    • 85 Metascore
    • 90 Critic Score
    Two Parts Together could be used to reference both dualities present here, that of the physical/metaphysical and the loud/quiet dynamic to Big Ups’ sound. Regardless of which one you choose, the band balance both almost to perfection, presenting both a musical and thematic journey that comes together to create a singular exhilarating experience.
    • 85 Metascore
    • 80 Critic Score
    Ecstatic Arrow is frank in its representation of the struggles of women creators, but balances its anger with miraculous joy.
    • 74 Metascore
    • 90 Critic Score
    This record comes four years after Sheezus, and the time and space Lily has taken out has created a masterpiece. Ballads stand side by side with dance beats; rappers, dancehall and afrobeat singers feature alongside production from Mark Ronson, Ezra Koenig and Fryars--yet it all comes together into a smooth and succinct tale of finding your identity after a crisis.
    • 84 Metascore
    • 90 Critic Score
    For the most part in fact, the album’s production is curated with Cudi in mind, a sonic bag of treats for those who vibe to the gloomy, celestial exploration of his early material as well as the rap rock stylings he has demonstrated since. ... Whereas the beats on ye sounded rushed and underdeveloped, the beats on KSG have some meat on ’em, crafting a sonic mood board that evokes thoughts of psilocybin mushroom trips, spiritual healing and yes, ghosts.
    • 83 Metascore
    • 80 Critic Score
    The tracks’ detailed arrangements are almost symphonic at places, but no matter how elaborate and eccentric they get, listeners are consistently guided by catchy ornamental melodies with which the album is replete. It’s this powerful juxtaposition that makes Age Of so compelling as an album.
    • 75 Metascore
    • 60 Critic Score
    When My Heart Felt Volcanic is a breezy, fun debut, but The Aces hardly stray from the road well-travelled. It’s a shame, considering they’re at their best when they push beyond the generic indie-rock song structure.
    • 86 Metascore
    • 80 Critic Score
    Everything Maltese conveys feels like a direct connection to the mind that bore it. It feels filterless, and with the music playing its part perfectly, we're all privy to the cool, calm and collected, swooning and crooning, world that Matt Maltese sees. And we're all the better for it.
    • 81 Metascore
    • 80 Critic Score
    Sometimes it is easy to forget that Lost & Found is Smith’s first LP. The sureness and creativity that exudes from each and every song disguises what some would call a lack of experience.
    • 82 Metascore
    • 70 Critic Score
    Ddespite being a classically trained multi-instrumentalist who self-wrote, mixed and produced the entire record, it is her hypnotic voice which carries you through this album of self-discovery.
    • 67 Metascore
    • 80 Critic Score
    There are no full-force affairs here. Colt is a record that is to be felt however you see fit not to be simply thrust upon you. Relish in the relaxing comfort of Woods ethereal voice melting into this dark, stormy palace; it’s one that has been a long time coming, and leaves no stone unturned.
    • 80 Metascore
    • 70 Critic Score
    At its core, Lush is partly a remarkable debut, for the solid shape it's delivered in, mostly cohesive, conceptually speaking, but it's true that the cohesiveness of Lush lacks any true dichotomy to "spice" up the album.
    • 84 Metascore
    • 70 Critic Score
    Not everything on Hope Downs impresses, as tracks such as "Sister’s Jeans’’ and "The Hammer’’ fail to recount the warmth and vivid storytelling found on the rest of the album. Regardless, Hope Downs is a record that sounds like it was made in the Australian bush, and it’s when this sense of local experience is presented most effectively that it really starts to shine.
    • 71 Metascore
    • 60 Critic Score
    The album’s repeated motif of smoking and cigarettes as an addiction metaphor feels try-hard rather than smart. The best tracks are those that transpose the drama of Li’s best work to the album’s more explicitly pop context.
    • 82 Metascore
    • 80 Critic Score
    The lens of amusement and sympathy through which Rhys views the turning world around him brings new life to the lineage he draws and draws from.
    • 64 Metascore
    • 50 Critic Score
    Ye
    Make no mistake, this is difficult to listen to. You will not be rewarded for multiple listens. It is what it is. It’s not enough, by a mile. West has clearly made this for himself first, and indulgence is deeply ingrained into the concept.
    • 83 Metascore
    • 70 Critic Score
    The result is not a focused or sharp record--but it doesn’t need to be. The allure of Noonday Dream comes in its willingness to swell and expand, before Howard sits up and starts kicking, slowly but precisely, to steer the track in a new direction.
    • 70 Metascore
    • 55 Critic Score
    Whether or not Joan of Arc are intentionally pulling back from some of the density of He’s Got the Whole, a bit too much space leaves stretches of 1984 less than solid in the process.
    • 81 Metascore
    • 85 Critic Score
    An ambient, compelling and unique look into whether contemporary life really has to be so empty.
    • 79 Metascore
    • 80 Critic Score
    The four-track offering is a rather wild journey, in that it refuses to offer anything up easily. Instead, it allows its intricate layers to build up to whatever it is they eventually come to stoke inside of you.
    • 73 Metascore
    • 50 Critic Score
    All of those tracks ["God’s Plan," "My Enemy" and "Wonderland"] feel sparse, built softly with a light touch, which is why the overblown, full-steam-ahead manner of much of the rest of the album is so maddening and--given their past pronouncements on big studios and producers--so utterly perplexing.
    • 85 Metascore
    • 80 Critic Score
    Hell-On is one of Case's moodiest solo records to date.