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The albums we can’t stop talking about in October

A column where NMM ranks each new album we listened to in the previous month. Whether we wrote a review or not, we aim to sum up our monthly listens so you know how to get the good stuff.

October was a great month and came with the highly anticipated (5 long years!) release of Tame Impala’s fifth album, a surprise hit from Lily Allen and some other strong contenders, including a Halloween release from Florence + The Machine aptly named Everybody Scream. Here is how it all shaped up for me.

1. Lily Allen – West End Girl

West End Girl came out of nowhere and hit with everything I love about a good album. It sounds great, is thematically consistent and somehow manages to be cathartic, angry, fun and upsetting all at once. Lily Allen feels like she has picked up exactly where she left off, with personal, ripping stories that mix tragedy and emotion into seriously great songs. It even manages to push the ludicrous but sad “Pussy Palace” into a Billboard top single.

Like many, I had not been following Lily Allen closely for a while. But songs like “Tennis” and “Relapse” open you up to her personal life as if you were living the trauma alongside her. Even with the heavy themes, the record keeps its pop allure and stays endlessly listenable.

2. Tame Impala – Deadbeat

I feel I did this album a service by waiting before writing this review. Initially I had reservations, and the first two singles “End of Summer” and “Loser” did not help much. The rest of the album is a grower. The more I listen, the higher it moves up my favourite albums list.

From the lagging chords of “My Old Ways” to the shimmering textures in “Ethereal Connection”, the record shows off Kevin Parker’s ability to craft a sound that can’t be beaten. Deadbeat does reinvent Tame Impala into a more dance orientated sound but if you’d been to a live Tame Impala show you’d know that it’s been a rave party for years, and these songs will dramatically build on that vibe.

3. Creeper – Sanguivore II: Mistress of Death

I had never heard of Creeper before seeing their name appear in festival rumours. That meant my expectations were low, which made the payoff all the better. From the opening lines of “A Shadow Stirs” to the theatrical singalong “Headstones”, I was fully sold on the vampiric rock opera that is Mistress of Death.

This record offers an epic mix of squealing guitars, thumping drums and horror themed theatrical songwriting. It channels the energy of classic heavy rock while embracing gothic drama. If you like your rock full of blood, darkness and catharsis, this album delivers.

Tough Cookie – The Countryside is Good For You
London upstarts Tough Cookie deliver a debut EP that feels like fresh, grungy air. There is a mix of grunge, Radiohead style depth and surf tinged indie. The songwriting is strong and the opener “Happiness” has been on repeat for me all month. They are carving out a tight niche and I am excited to see what comes next.

Elijah Woods – Can We Just Talk
Polished, warm and inviting, this album does not demand too much but rewards your attention. Charming vocals, solid production and thoughtful songwriting make it a great listen. Check out our full review for more detail.

Florence + The Machine – Everybody Scream
There is real emotional weight here. Florence channels pain and rawness throughout the record. “One of the Greats” is the track that truly sticks with me. Other songs are powerful in the moment but fade quickly after listening. Even so, the record feels honest and huge, even if it does not stay with me for long.

Geese – Getting Killed
Although released in September, the hype was impossible to ignore through October. Cameron Winter and the band pull in early 2000s Radiohead influences, chaotic vocals and impressive instrumentation. The breakdown near the end of “Bow Down” genuinely gave me chills. Still, the album does not hit the level of intensity I was expecting, making it a mixed experience for me.

Artemas – LOVERCORE
Artemas leans into a dark, industrial, NIN inspired soundscape, especially on “Southbound” and “Take It Easy On Me”. The production is thrilling, but some writing feels underdeveloped. It is a solid project but I expected more after the singles and after seeing what Artemas can do live.

Taylor Swift – The Life of a Showgirl

There is no doubt that this album and Taylor Swift herself dominate the musical landscape. For me though, this release feels hit and miss. There are highlights, but much of it leans heavily on image rather than substance. For more context, check our full breakdown of her twelve album discography.

The Last Dinner Party – From The Pyre
This album feels rushed and does not offer anything that replaces the epic highs of last year’s Prelude to Ecstasy. It exists in the same world as their previous release but without the ambition or freshness that made that debut special.

That is my take on October. Let us know what you think and next month I will start rounding up the best albums of the year.