Caterina Barbieri is set to release a sister album of her 2019's acclaimed “Ectatic Computation”. “Myuthafoo“ will be out on June 2.

One of the finest pop albums of its time, Walls Have Ears remains one of many overlooked gems from the new wave era. This mysterious trio wrote pure and unabashed pop songs heavily influenced by the '60s and '70s and dressed them up in '80s clothing. Guitars float and shimmer above a synth foundation, allowing vocal harmonies (and some bits of brass) to roam freely in and out of each song. The haunting "Say You Will" is drop-dead gorgeous with its acoustic guitar riff and pained vocals. "Yo-Yo" could have been a massive hit with its classic hook bouncing around the room. "Remember Me and You," "Tell Me Baby" and "Love Me Too" contain all the elements that make pop music so enchanting and enticing. When BOS get all gooey on ballads such as "Lovers," "Close to Me" and "Photograph," the effects are mesmerizing. An album to love and embrace your whole life through. – AllMusic Review by Stephen Schnee

This release from the BGO label combines two of Gino Vannelli's albums for A&M, Powerful People (1974) and Storm at Sunup (1975). Both releases peaked in the Top 60 of the Billboard 200, while “People Gotta Move” – the lead song on the former – was one of Vannelli’s biggest singles and narrowly missed the Top 20 of the Billboard Hot 100. Those who pick up a well-chosen Vannelli compilation can get the essential songs, but soft rock diehards can obtain a fair amount of Vannelli’s choice album-bound material right here.

This is an enchanting CD, every item a sheer delight. Margaret Leng Tan worked with Cage in the last decade of his life and her earlier recordings (1/92; 7/95) show a special sympathy for the magical world of Cage's keyboard music. The second of her New Albion CDs included the piano solo version of The Seasons, and Cage was honest enough to admit to her that he had help from Virgil Thomson and Lou Harrison in making the orchestral version recorded here. The result is recognisably Cage at his most poetic, evoking each of the four seasons in lovely changing colours. There are two realisations of one of the last of what are called Cage's 'Number Pieces', Seventy-Four, written specially for the American Composers Orchestra a few months before his death in 1992. Several hearings have confirmed for me that this seamless garment of sustained sound in two overlapping parts is an immensely moving document from a unique human being at the very end of his life.