Pitchfork’s Top Five Albums Of 2012

The year that was 2012 will be remembered in popular music circles as the year in which The Stones Roses reformed their trippy, stadium-shaking odyssey, Pussy Riot turned political songwriting into actual political action and a quirky little Korean man conquered the world with his taste for tuxedos and obscene dance moves.

Yet beyond the headline-grabbing stories, 2012 also saw the release of some truly awesome and at times groundbreaking new music. 20-year-old Flume became an icon for every pill-popping teenager with his slick beats and razor sharp production, Tame Impala broke the second-album curse in emphatic fashion with their fresh set of psychedelic riffs and Frank Ocean proved that kick-ass hip-hop does not necessarily have to come with a Kanye-West-sized ego.

Independent music website, Pitchfork have their own take on 2012, with a "Best Of" list that includes some chart-topping juggernauts along with a bunch of unsung success stories. Here is Concrete Playground's take on Pitchfork's top five albums of 2012.

1. Kendrick Lamar - good kid, m.A.A.d city

Californian local, Kendrick Lamar is a far-cry from the sort of arrogant, chest-beating and studio-polished rappers that we have come accustomed to hearing come out of the US of A. On his second solo album, "good kid, m.A.A.d city", Lamar rejects the misogynist rhymes of his West Coast peers in favour of a deeply personal and at times painfully raw exploration of his childhood growing up on the fringes of gang life in Compton, California. The album however is never overwhelmed by its emotional intensity, as Lamar's lyrical virtuosity is equalled by the album's sumptuous, beat-laden soundtrack, making "good kid, m.A.A.d city" not only one of the most personal but also most accessible records of 2012.

2. Frank Ocean - Channel Orange

Having lent his considerable songwriting and vocal talents to the likes of Jay-Z, Kanye West, John Legend and even Justin Bieber, Frank Ocean was not exactly an unfamiliar voice even if he may have been an unfamiliar name prior to the release of his highly acclaimed debut album "Channel Orange". The mass of industry and social media hype that preceded its release turned out to be entirely justified with Ocean delivering an album full of silky vocals, Prince-flavoured melodies and touching word paintings that has had critics everywhere drooling and all other R&B artist clutching at his heels.

3. Godspeed You! Black Emperor - Allelujah! Don't Bend! Ascend!

Fusing anarchist politics with metal-like riffing an unreal string section and spine-tingling vocals, "Godspeed You! Black Emperor" have carved themselves a cult-like following a million miles away from the mainstream. "Allelujah! Don't Bend! Ascend!" as such is part political manifesto and part soundtrack to the apocalypse, with beautiful guitar riffs building and crescendoing into euphoric explosions of raw power and noise. "Godspeed You! Black Emperor" is the sort of once-in-a-generation band that is able to effortlessly straddle the seemingly irreconcilable boundaries of brooding yet joyous, bombastic yet simple, epic and yet distinctly personal all at the same time sounding like they are having themselves a pretty unreal fucking party.

4. Grizzly Bear - Shields

Shields is the fourth and most critically acclaimed album from the Brooklyn's indie darlings, Grizzly Bear. In this intricately layered album, the quartet have moved away from the dreaminess of their previous work in favour of a fuller sounding collection of songs which take the listener on a melancholic journey of loneliness tampered by moments of profound human connections. Grizzly Bear's melodies are self-consciously ''in your face'' demanding the listener to stop, listen closely and notice the beauty that exists in our otherwise fast-paced world. A woody concoction of lulling vocals, nimble guitar riffs and consistently evocative lyrics, Shields will resonate with you long after the final notes are heard.

5. Beach House - Bloom

The Baltimore-duo's fourth offering is an enticing cocktail of dreamy vocals, tender guitar lines and breathy male-female harmonies that hits the listener in waves of sonic and ethereal bliss. For Beach House's devoted collection of fans this is everything they have come to expect of these dream-pop pin-ups, yet "Bloom" has the band taking their distinctive and deceptively complex sound to new levels of summery warmth, carving a near-perfect album of lush, bittersweet soundscapes. "Bloom" is perhaps the most beautiful album of 2012 and should be the soundtrack to anyone whose idea of the perfect Summer involves curling up with a bottle of white wine and a view of the sunset.