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The Best Albums Of October According To PlayGround

Another month, another list of the most outstanding full-lengths

An overview of the ten best albums of October, according to PlayGround. The month of key releases features some titles which, in a few months, will be on more than one end-of-year list. So heads up and go get them.

October is the month when things become complicated: heaps of key releases, loads of records strategically planned in the final quarter of the year, right in time for the end-of-year lists. The work piles up, and the important titles multiply. Nevertheless, we've been able to select the ten that stand out from the rest, including the odd reissue. Here goes our album top ten for October 2012.

10. Mac DeMarco: “2” (Captured Tracks)

The new Captured Tracks signing leaves behind his scruffy lo-fi spring pop and enters autumn as one of the brightest revelations of North American indie-pop. A half hour of friendly songs that go by in a jiffy.

9. Juju & Jordash: “Techno Primitivism” (Dekmantel)

Scuba-diving willy-nilly in the industrial dub tradition of the 70s, analogue proto-techno, electro-acoustic music and the origins of Detroit; Israeli-Dutch duo Juju & Jordash have shaped a slippery, novel sound that will set a new example for techno in 2012.

Review

8. Andy Stott: “Luxury Problems” (Modern Love)

Andy Stott delivers his first album after his 2011 slowed-down techno diptych, and manages to close a trilogy in which he found new ways of expression for experimental dance music. This time with piano and voice, looking for an exit towards the light.

Review

7. Daphni: “Jiaolong” (Jiaolong)

With “Jiaolong”, Daphni’s first long work, Dan Snaith crystallises his fruitful vision of dance music, releasing a magnificent argument for the expressive richness of music made for clubs.

Review

6. Kreng: “Works For Abattoir Fermé: 2007-2011” (Miasmah)

Expressionist Kreng compiles four tremendous soundtracks written for Belgian theatre group Abattoir Fermé in a luxurious box set. Oppressive sounds, drones and dramatic strings: it hurts .

Review

5. Tame Impala: “Lonerism” (Modular)

Kevin Parker returns to the Tame Impala project to give 21st-century psychedelic pop a new consistency, warmer and with ample pop openings. Somewhere between the Beatles and Flaming Lips, between boundless pleasure and hypnosis. An album to lose yourself in.

Review

4. Bat For Lashes: “The Haunted Man” (Parlophone)

Ambitious, mature and majestic, with her third album Bat For Lashes confirms herself as the main diva of eccentric pop, taking over from Björk, who left her creative peak over ten years ago.

Review

3. Vessel: “Order Of Noise” (Tri Angle)

Vessel, one of the most interesting producers from the latest Bristol generation, is releasing his first full-length on Tri Angle, finding a place on the intersection of Burial, Actress and experimental dub, both cold and melancholic.

Review

2. Laurie Spiegel: “The Expanded Universe (2012 Expanded Edition)” (Unseen Worlds)

Originally released in 1980, “The Expanding Universe” is a forgotten classic of computer music. Today, it has reappeared, extended to two and a half hours, in a cosmic tour de force that allows one to travel to other worlds.

Review

1. Kendrick Lamar: “good kid, m.A.A.d. city” (Top Dawg-Interscope)

Kendrick Lamar’s debut shines: the diary of a good boy who samples the pleasures of the dangerous life in the big city, it is a wonderful treatise of young, modern rap, lyrical and contemplative, supported by today’s best producers.

Review

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