The Line of Best Fit's Scores

  • Music
For 4,100 reviews, this publication has graded:
  • 66% higher than the average critic
  • 4% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 4 points higher than other critics. (0-100 point scale)
Average Music review score: 77
Highest review score: 100 Am I British Yet?
Lowest review score: 30 Supermodel
Score distribution:
4100 music reviews
    • 70 Metascore
    • 70 Critic Score
    Luckily, there are enough tracks to cement Kelly Clarkson’s status as a long-standing pop icon – and to sympathise with her as a human being who only longs for emotional security.
    • 80 Metascore
    • 80 Critic Score
    The result is a hugely compelling, powerfully inviting album that manages to be simultaneously and seamlessly equal parts intimate and epic, experimental and elementally down to earth – often simultaneously. A perfectly formed gem, in other words.
    • 82 Metascore
    • 90 Critic Score
    On album number two, instead of writing out a cheat sheet, they have created an enigma for you to unravel. One of dark beauty and twisting longing.
    • 84 Metascore
    • 70 Critic Score
    This isn’t a perfect album – far from it – but it is stylistically consistent, thematically coherent and beautifully composed.
    • 76 Metascore
    • 70 Critic Score
    The Good Witch is pleasant pop, a record that doesn’t feel like it’s trying too hard while still cutting with witty writing.
    • 63 Metascore
    • 70 Critic Score
    Despite being as zesty as it is entertaining, Feed The Beast feels compromised as it shoots for the stars.
    • 80 Metascore
    • 80 Critic Score
    All Her Plans spotlights the Melbourne-based band as they reach new heights, exuding love, indignation, and indomitability, the essentials of “conscious” punk circa 2023.
    • 81 Metascore
    • 70 Critic Score
    While the latter half of the record isn’t as engrossing as the first half, it still concludes with a solid trio of tunes.
    • 80 Metascore
    • 70 Critic Score
    Life Under The Gun is a flawed but enjoyable debut album.
    • 80 Metascore
    • 70 Critic Score
    Heartfelt stories such as these show – not tell; King of a Land does so in the last leg, but there’s always a nagging wonder of what the record would’ve been had it done so throughout its entirety.
    • 84 Metascore
    • 90 Critic Score
    Williamson’s voice, writing, and sound have all evolved leaps from her previous albums, and Time Ain’t Accidental stands tall among masterful country-pop crossover records like Speak Now or Golden Hour that made their authors superstars.
    • 82 Metascore
    • 70 Critic Score
    The London-based trio use corrosive riffs, candid lyrics and pop hooks to deliver their most direct statement of self-autonomy yet.
    • 82 Metascore
    • 70 Critic Score
    Isbell’s ninth LP is a cautious refinement rather than a reinvention for the Americana icon – and as he explores a familiar set of themes, the lyrics can sometimes feel as though they could have been directly pulled from the cutting room floor of previous studio sessions.
    • 80 Metascore
    • 90 Critic Score
    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.
    • 84 Metascore
    • 80 Critic Score
    Unwilling to finish on “14”’s vulnerability, Water From Your Eyes keep us at arm’s length, but eager to burrow deep and discover everything this album has to offer.
    • 82 Metascore
    • 80 Critic Score
    With an album this good, feeble little horse are bound for the winner's circle. For now, though, the grass looks plenty green right where they're standing.
    • 80 Metascore
    • 70 Critic Score
    Miya Folick orbits and sometimes grasps something transcendent about living through unprecedented times on ROACH.
    • 82 Metascore
    • 90 Critic Score
    The result is a sequence that sounds more expansive and sublimely mapped, yet perhaps less combustive, less raggedly urgent. I.e., Monolith is triumphant on its own terms.
    • 78 Metascore
    • 90 Critic Score
    PARANOÏA isn’t without flaw; some tracks work more as spoken poems than as songs due to their slack, unmoving instrumentation. But at almost 100 minutes, Chris’ most astounding work yet expands his craftsmanship to territories surprisingly well-suited for him.
    • 82 Metascore
    • 70 Critic Score
    Sitting at ten tracks long, the amusingly titled Party Gator Purgatory whisks through freeform rap (“lookaliveandplaydead”), chilling electronics, and almost cacophonous vocals to make, what could be argued, as the most bizarrely interesting record of the 21st century.
    • 84 Metascore
    • 80 Critic Score
    Last Man Dancing is a party to escape to when life gets a little bit too much, and it delivers on its mission statement with abundance.
    • 81 Metascore
    • 90 Critic Score
    Undoubtedly Bully’s best album yet, Lucky For You is the culmination of growing up and dealing with the shit stuff; death, the world, etc. But it never wallows in the mire. Instead it jumps up, hair flying wildly, and sticks a middle finger in the air, ready to kick out the jams.
    • 84 Metascore
    • 80 Critic Score
    Throughout Shadow Kingdom, Dylan is found virtually savouring the sweet taste of his lyrics, applying care, precision and masterful phrasing that renders the results really quite beautiful.
    • 81 Metascore
    • 80 Critic Score
    Ironically for an album so deeply immersed in the past and the all-enveloping shadow of a famous parent, the album provides that Dury’s talents require no piggybacking on anyone else’s fame: this is the real deal.
    • 86 Metascore
    • 80 Critic Score
    As a whole it's a fine addition to the Foo Fighters catalogue – but that’s not the point of this album. .... This is a reminder that the Foo fighters are a band bigger than any individual member - including Grohl. They're a rock band that, even when the going gets tough, know that there's a job to do and there's no better way to deal with life than throwing together some ringing chords and belting the dark clouds away.
    • 75 Metascore
    • 80 Critic Score
    Doing what it says on the tin, My Soft Machine is powerfully subtle, and reasserts Parks’ ability to capture and alleviate negative emotions, while simultaneously furthering her exploration of the sound that put her on the map.
    • 85 Metascore
    • 80 Critic Score
    AI could never replicate the unique balance between deranged imagination and supreme sanity that is the mark of a great Sparks record like this.
    • 75 Metascore
    • 80 Critic Score
    Never has Kesha's music felt this inspiringly rich. It has all the potential of once again making her a staple on the music scene, and this time even beyond pop.
    • 78 Metascore
    • 70 Critic Score
    Some listeners may miss the rawer sounds and leanings of her debut and the instrumental adventurousness of her second album, as Lahey wends her way through a less incendiary and more restrained sequence. Still, she employs volume dynamics skillfully, her melodies are consistently enrolling, and her lyrics, at once colourful patter, empathetic pep-talk, and a vehicle for catharsis, are aptly accessible.
    • 84 Metascore
    • 80 Critic Score
    Whilst there’s a great range of material to lose yourself in here, it can at some points feel a little like (Whirring Marvels In) Consensus Reality is composed of many different albums – switching swiftly as they do between ideas from song to song. Your mileage will vary, and the excited mixture of material did little to affect my enjoyment of the album, but it’s worth pointing out nonetheless.