Actress – Ghettoville
Four albums in and this south Londoner has all but obliterated his carefully devised image. ‘Ghettoville’ is a signed death warrant. It’s the skeleton of a nom-de-guerre buried under noxious dust of exhaustion, or as his final communiqué sighs: “… the birds look back into the cage they once inhabited. Spitting flames behind a white wall of silence.” Read more on Clash Music

Bohren & der Club of Gore – Piano Nights
Inspired by a Bohren concert where Christoph Clöser was playing a selection of the outfit’s music on a grand piano in Moscow, “out of boredom, more than anything,” said Clöser, the nine-song release was recorded at Dark Victory Studios in Cologne, Germany. Piano Nights is self-described as a return to the band’s roots, albeit based on complex arrangements and a broader palette of sound. – Read more on Vents

Raum – Event of Your Leaving
Event of Your Leaving, a project in-process for at least two years, proves just how complementary these seemingly conflicted aesthetic spirits can be. Where Harris makes subtle, interior, and dread-laced music that often sounds buried underground—it can feel embedded with existential questions of mortality and death, and did so explicitly on this year’s The Man Who Died in His Boat—Cantu-Ledesma makes blown-out, skybent music, with the affect of something heavenly pouring down. Where Grouper works with images of the natural world and somber moods, Cantu-Ledesma’s beaming washes of pastel-shaded white noise are optimistic; his song titles have included “White Dwarf Butterfly” and “Stained Glass Body”, carrying the romance of a love poem or emergency meditation. Read more on Pitchfork

Tara Jane O’Neil – Where Shine New Lights
Tara Jane O’Neil begins Where Shine New Lights, her seventh solo album and the first for Kranky Records with ‘Welcome’, a short passage of multi-tracked sirenic wordless coos that beckon the listener in to wander in a dreamlike state through O’Neil’s ever shifting and increasingly immersive sound world. Read the full review