With Lines, Lynch has managed to trudge on ever closer to the boundary separating the two worlds that he calls home, though at least for now he’s decidedly, satisfyingly settled on the side of the outré.
It's a rare occurrence to have something so academic and clearly considered come off as playful and laid-back as these songs do, but the layers of instruments never outshine the glowing optimism and simple joy of Lynch's songwriting.
Lines sounds ultramodern, but also out of time--a balance Lynch has been able to strike on earlier work, but the expansive sonic palette he's working with here offers a better showcase for that skill. [Mar-Apr 2013, p.93]
This is well worth having for fans that have worn out Mare or Terra, despite the fact that the immersive, soothing qualities that balanced the angularity on his previous releases have been ditched in favour of often shrill, jarring timbres.