A Grounding in Numbers is the eleventh studio album by the British rock group Van der Graaf Generator. It was released on 14 March 2011. This date, if written as 3,14, comprises the first three digits of the number π. The second track, "Mathematics", refers to Euler's identity, sometimes known as the mathematical poem. The album's release signals a continuation in the direction set by the current trio lineup, but it is released on a new label, Esoteric Recordings, a departure from previous releases on Virgin/Charisma. Hugh Padgham is the mixer of the album.

It would probably have been more fitting to credit 2005's The Atlanta Years solely to Steve Marriott, as he's the only recognizable name from Humble Pie here. The story goes something like this – circa 1982 and 1983 (immediately after a briefly reunited Humble Pie called it quits once again), Marriott regularly gigged and recorded in the Atlanta area. And despite the fact that Marriott did play other places during this time, it's referred to as his "Atlanta Years," which this 17-track release focuses on. With countless veteran rockers trading in their blues-rock and blue jeans for synths and headbands during this era, Marriott admirably sticks to his stylistic guns here, as evidenced by such bluesy, funky, and soulful tracks as "Heartbreaker," "Trouble You Don't Fool Me," and "I Need More." Also rounding out the set are live renditions of several Humble Pie classics, including elongated versions of "Thirty Days in the Hole" and "I Don't Need No Doctor," as well as a 20-minute phone interview with one of Marriott's former wives. While The Atlanta Years is certainly not a wise starting point to discover the great Humble Pie (search out one of their many comps of early-'70s material), it does serve as a taster of what one of rock's most underrated vocalists was up to during the early '80s.

No popular music group from the 60s, 70s, 80s or 90s has experienced more ups and downs in terms of popularity, or attracted such a diverse audience as The Bee Gees. They made their debut in the mid-60s in an ensemble reminiscent of The Beatles, then quickly began to write their own lyrics and develop a more personal style, perfecting along the way a completely singular progressive pop sound. After an empty stint in the early 70s, the band reinvented themselves during the disco era thanks to the soundtrack of the film Saturday Night Fever, which made them the most famous white soul band of all time.

Rhino released a new David Lee Roth box-set, The Warner Recordings 1985-1994, which features newly remastered versions of the former Van Halen lead singer’s first five solo releases. Roth released his debut EP, Crazy From The Heat while still a member of Van Halen. Consisting of cover versions, it was a hit, reaching number 15 on the Billboard 200. Following on from this success, David Lee Roth departed Van Halen in the summer of 1985 and his first solo album, Eat ‘Em and Smile, would follow in the July of 1986. More straightforwardly ‘rock’ than his EP, it still retained some of the wide-ranging tastes explored previously, including a cover of Frank Sinatra’s ‘That’s Life’.

Lux (stylised in all caps) is the upcoming fourth studio album by Spanish singer Rosalía, scheduled for release on 7 November 2025 through Columbia Records. It is her next full-length album after Motomami (2022). Its physical editions contain eighteen tracks; digital editions omit three. Lux was recorded with the London Symphony Orchestra under the conduction of Daníel Bjarnason, with multiple arrangements by Caroline Shaw and Rosalía as its executive producer. The album includes guest appearances by Björk, Carminho, Estrella Morente, Sílvia Pérez Cruz, Yahritza y su Esencia, and Yves Tumor.

On April 15, 2023, Gary Numan marked a monumental milestone in a lengthy career with his 1,000th live performance at the Electric Ballroom in London’s Camden Town. The show, the last of 3 sold-out gigs at the iconic venue, was a testament to his enduring influence and unwavering devotion to his fans. The setlist was a carefully curated journey through Numan’s extensive catalog, balancing classic anthems (“Down in the Park,” “Cars,” “Are ‘Friends’ Electric?”) with selections from his more recent albums: Songs From a Broken World (2017) and Intruder (2021), including “The Gift,” and “My Name Is Ruin.” The 1,000th show was more than just a concert; it was a celebration of Gary Numan’s remarkable career and his profound impact on electronic music. As the final notes of “Are ‘Friends’ Electric?” faded into the night, it was clear that Gary Numan’s unique sonic language will continue to evolve and captivate for years to come.

After the resounding success of Volume 1 (Gramophone Editor’s Choice, Preis der Deutschen Schallplattenkritik, Diapason d’Or, Choc de Classica, FFFF Télérama), the project to record the complete Sibelius symphonies continues with the Gothenburg Symphony Orchestra and Santtu-Matias Rouvali, whose career as a conductor is entering top gear: he has just been appointed Principal Conductor of the Philharmonia Orchestra in London. At the turn of the twentieth century, as Finland struggled to free itself from Russian rule, Sibelius and his wife faced several domestic dramas, including the loss of one of their daughters, Kirsti, to typhoid fever.

The 18th century was the golden age of the mandolin. The ensemble Artemandoline presents world premiere recordings of forgotten masterpieces written in Florence and Rome for mandolin and basso continuo. A music full of energy, beauty and virtuosity.

Catherine Gayer makes a spirited, fresh sounding Adonis and Brigitte Fassbaender as Venus is superb throughout; Venus's ''Augelletti, si cantate'' has an almost irresistible allure and her radiant duet with Adonis at the conclusion of the work is something to treasure. The instrumental accompaniment is excellent of its kind and of its vintage, with a notable contribution from Hans-Martin Linde on the sopranino recorder. This is, in a word, enlightened music-making which brings a ravishing score to life affectionately and convincingly. Excellent recorded sound and a considerable adornment to Archiv Galleria's otherwise arbitrary and mainly disappointing selection of reissues.

After the commercial and artistic success of their 1973 album 'Dark Side of the Moon', Pink Floyd began recording the follow up in January of 1975. The resulting album 'Wish You Were Here' was released in September of that year. A personal favourite of both of us at Pale Wizard 'Wish You Were Here' is a timeless classic of progressive and psychedelic rock music. The album’s delicate balance of introspective lyrics and expansive soundscapes made it a fan favourite. In particular, it channels the band's personal struggles- most notably, the absence of their former bandmate Syd Barrett, whose mental health issues had caused him to depart the group years earlier. Through songs like "Shine On You Crazy Diamond" and the title track "Wish You Were Here," the band wove their pain and reverence into hauntingly beautiful music, establishing a profound connection with listeners worldwide.

30th Anniversary Deluxe Edition (Remixed original tracks and all tracks Remastered). No indication on album which tracks reside on CD1 and CD2. Issued in a hinged dual CD jewel case. Celebrating 30 years of their seminal Sophomore album, comes The Cranberries’ “No Need To Argue”, their worldwide multi-platinum beloved masterpiece. This now includes newly mixed Remastered Audio from the original album’s producer Stephen Street, 2 brand new remixes from Chvrches’ Iain Cook, unreleased live music from Woodstock ’94 and the unearthed demo of fan favorite “Zombie”.

Madison Square Garden, New York, USA. March 21st, 1984.

Air Canada Centre Toronto, ON, 2/2/2016.

Discipline positively throbs with a barely restrained power on the 5th gig of the tour in Japan’s capital city. A bright, slightly trebly audience recording can really only give us a sense of how things were that night but even at this remove it’s obvious right from the off that Crimson are really hitting their stride. Levin is a totally unstoppable bass beast providing a dark undertow of long creeping bass tones, providing a kind of ominous still centre as the notes and beats whirl around him. The high-octane stuff continues with a Red that threatens to demolish the place, and at the other end of the scale, a wonderful light and graceful Matte. The way this band can go between these two extremes with such apparent ease and facility is surely what makes Crimso special.
The gig is rounded off in grand style with the reappearance of Sartori In Tangiers. It had first featured in the Crimson set list (not under that title) on the American leg of this tour in October, making sporadic appearances. Having given it a rest a for a couple of evenings, it returns with a vengeance. The otherworldly interplay between the organ and Belew’s swooping guitar notes during the extended introduction sends shivers prior to a brilliant piece of Belew bravura as he coaxes all manner of weirdness out of his guitar. A great gig with Crim on form and a decent bootleg sound. If you download this you won’t go wrong.

In 2002, I traveled to Zimbabwe with my friend Marc, a fellow musician. After a month-long record safari, he insisted that the highlight of the entire trip was discovering the Zig-Zag Band. At the time, I was so immersed in the raw, gritty Chimurenga sound that his comment barely registered. Fast forward twenty years and I found myself back in Zimbabwe, this time with Volkan who after another digging trip, told me that despite all the music we had discovered, it was the Zig-Zag Band that stuck with him the most. Two people — separated by two decades — coming to the same conclusion? That couldn’t be a coincidence. This time, I had no choice but to listen. What was so special about this band? I was about to find out.