The Line of Best Fit's Scores

  • Music
For 2,123 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 Purple Rain [Deluxe Expanded Edition]
Lowest review score: 30 Supermodel
Score distribution:
  1. Negative: 9 out of 2123
2123 music reviews
    • 73 Metascore
    • 60 Critic Score
    Problem is, this is essentially the same stuff they released in 2008, and since there are 77 minutes of it, it's entirely too much of the same stuff.
    • 73 Metascore
    • 60 Critic Score
    None of the tracks are bad per se. But they lack something that the first tastes promised, and so pieced together it feels like the debut is not worth more than the sum of its parts.
    • 73 Metascore
    • 45 Critic Score
    Yes, B-sides and rarities are sort of supposed to feel rough or incomplete, but A Folk Set Apart seems to be characterised far more by its misguided decisions than by its lack of polish or perfection.
    • 73 Metascore
    • 60 Critic Score
    He has not made a classic here, but he may have made an album which allows him to do so again in the future.
    • 73 Metascore
    • 50 Critic Score
    As a whole, it’s just a shame that on Means, FEWS’ originality seems far between.
    • 73 Metascore
    • 55 Critic Score
    La Di Da Di however limits the potential for “free-thinking” with a series of stagnant, self-conscious ideas and motifs. Unfortunately, Battles have not mastered the art of repetition on La Di Da Di.
    • 73 Metascore
    • 60 Critic Score
    While Providence is by no means a failure or throwaway LP, as a body of work, it doesn't quite keep you enthralled and, more than often, leaves you grimacing at the cacophony of, at times, irritating sound that's pummelling your eardrums.
    • 73 Metascore
    • 50 Critic Score
    Sadly, what should have been a triumphant return ends up being as forgettable as the time of year of its release. It’s a middling album birthed in a middling, gloomy time of year without much joy to offer. Not even a proper chuckle.
    • 73 Metascore
    • 50 Critic Score
    As this band is essentially a bunch of like-minded friends getting together, they clearly don’t have any worries about how this record is going to be received. Perhaps they’re resting on the laurels of legendary past projects, but this record neither breaks new ground nor successfully exploits the flow of an old formula.
    • 73 Metascore
    • 60 Critic Score
    While their aesthetic hangs in the balance, they’ve proven on The Age of Fracture that they have it in themselves to achieve cohesion.
    • 72 Metascore
    • 60 Critic Score
    Herein lies the central problem with Devendra Banhart’s latest record; there are moments to savour, but for each of these there’s at least one frustrating or disappointing moment to counteract it.
    • 72 Metascore
    • 60 Critic Score
    It’s a solid start from this supergroup, but the tug of old strings still dominates proceedings a little too much to mark this out as anything wholly unique in itself. But for some, that’ll be just fine.
    • 72 Metascore
    • 55 Critic Score
    Jessica Rabbit is the work of a band in stasis, but also one who sound desperate to pull themselves out of it.
    • 72 Metascore
    • 60 Critic Score
    There are undeniable moments of beauty (the radar-bleeping beginning of “A Light Above Descending” is lent a lovely, watercolour quality by its gentle horn accompaniment), and the live cuts tend to fare better than the studio recordings, imbued as they are with a tangibly excitability. It’s irrefutable though--much of Sea of Brass (by which I mean both the studio album itself and its associated extras) does feel bloated.
    • 72 Metascore
    • 60 Critic Score
    There are plenty of great ideas here, and if you really listen, they’re not particularly hard to find. But it would be nice to be able to let an album like this simply wash over you, rather than be forced to pan for gold in its still, murky waters.
    • 72 Metascore
    • 60 Critic Score
    PS I Love You stand worryingly characterless--as nervy as that inadvertently muttered, instantly regrettable moniker--in the corner of the party; forgettable faces soon cast into history once the fresh night air hits intoxicated skin.
    • 72 Metascore
    • 55 Critic Score
    Alias is by no means a bad album--on the contrary, it highlights the maturity and progression of four highly talented and much loved British musicians--but it’s just not that fun.
    • 72 Metascore
    • 55 Critic Score
    Between the dated indie dance and the ballads and the auto-crooned, electronic pop, there are promising, soulful, twinkling instances of intelligent sampling and singing and interesting instrumental interludes.
    • 72 Metascore
    • 60 Critic Score
    Dalle sounds as if she’s on autopilot for much of Diploid Love; she’s obviously got talent to spare, but she’ll need to provide herself with a sterner challenge than she has here if she’s to truly capitalise on it.
    • 72 Metascore
    • 55 Critic Score
    Tonally, it falls somewhere between the shoegazey aggression of I Will Be and Only in Dreams’ hazy hooks, but it’s lacking the former’s force of character and the latter’s infectious melodies.
    • 72 Metascore
    • 60 Critic Score
    Era
    Era joins the other three albums as a missed opportunity.
    • 72 Metascore
    • 50 Critic Score
    On pretty much every track, the instrumentation is formulaic and predictable.
    • 71 Metascore
    • 60 Critic Score
    Drenched in minimal, slow and moody arrangements, Badwater, like Speck Mountain’s previous efforts, gives no apology for its intentional pace. In fact it revels in it.
    • 71 Metascore
    • 50 Critic Score
    Fall Forever’s bare-bones approach is perfectly pretty, but never vital; perhaps, sometimes, more is more.
    • 71 Metascore
    • 60 Critic Score
    They haven't really taken a new direction with regards to the songwriting on Decency.
    • 71 Metascore
    • 60 Critic Score
    This is a lovely record, prettily arranged and carried off with assurance, but it’s ultimately very difficult to escape the feeling that the real aim here was to deliver something of slow-cooked profundity.
    • 71 Metascore
    • 50 Critic Score
    Despite all of the duo’s lofty intentions, slick artwork and studio trickery, the soggy samples and limp singing guarantee you won’t go back for seconds.
    • 71 Metascore
    • 60 Critic Score
    There is a somewhat disconcerting beauty to some of Pre-Human Ideas’ songs.
    • 71 Metascore
    • 60 Critic Score
    Convenanza naturally operates best when Weatherall stays away from the mic.
    • 71 Metascore
    • 60 Critic Score
    By stepping into this unfamiliar territory, he’s not only proved that he’s the dynamic and hugely talented producer that those early EPs hinted at, but he’s ended up just inches away from making that record he’s aiming for.