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.

Lizard - King Crimson's third studio album and second recording of 1970, was, like its predecessor In the Wake of Poseidon, the product of a studio band. iI was also the first Crimson album for which Robert Fripp provided all of the music. Remarkably self-contained and sounding somewhat atypical for a King Crimson album - even by the standards of a band that rarely sounded similar from album to album, Lizard is an often overlooked and under-appreciated gem from their early years. Lizard featured a lighter, more delicate sound than the earlier albums - an approach perhaps necessitated by an extended instrumental lineup. CD/Bluray - The complete recording sessions of Lizard on 1 CD/1Blu-ray Blu-ray features all new mixes of the album in Dolby Atmos, 5.1 DTS-HD MA 24/96 Surround & 24/96 Hi-Res Stereo by Steven Wilson All new Elemental Mixes of the whole album in 24/192 Hi-Res Stereo by David Singleton Blu-ray also features the 30th anniversary remaster in 24/96 Plus the complete recording sessions from September 1970 in 24/48 Presented in a replica mini-vinyl style packaging with booklet including photos and sleevenotes from King Crimson biographer Sid Smith CD includes the 2025 Steven Wilson album mixes and a selection of Elemental Mixes.

John Fogerty celebrates the songs that made rock history - on his own terms. For the first time, he owns the full rights to his iconic catalog. "Legacy" is both a celebration and a reclamation. The album features re-recorded versions of his most popular songs and captures Fogerty's raw energy and creative passion - just in time for his 80th birthday. Backed by his family band and buoyed by a new wave of recognition - from his tribute by Bruce Springsteen at the American Music Honors to rousing performances at 2025 JazzFest, Glastonbury, the Hollywood Bowl and more - Fogerty is as powerful and full of life as ever. "Legacy" is not just a tribute to one of rock music's greatest repertoires - it's the sound of an American original reclaiming his place in the spotlight.

The Warm Up Tour was the name given to Peter Gabriel's run of live dates in June, July and August 2007. In advance of the tour, Peter said: “When I decided to get a band together it was for the 25th anniversary of our WOMAD festival on the last weekend of July. I then decided to do some other dates around it but don’t have a new album to play yet. So, I thought I would ask the fans through the full moon club on my website to put in requests for songs that I had not been playing recently. It is that list that you sent in that has determined what you are now about to hear. Some of these have not been played for many years and we are intending to brush off the rust.” – pg

Producer Anthony Monn parades every effect known to Euro-dream imagery in support of Lear as disco vamp: whispers from inside a tunnel, rhythms that filter in subliminally, themes that scale up to soprano range, choirs of angels singing, guitar rhythm rock-ons, and, of course, Lear's voice. Lear's singing is perhaps Monn's greatest effect: androgynous, sultry, out of reach and horny at the same time, Lear works hard to pretend at playing the merciless siren. She can't properly sing even one note, but what's that got to do with anything?

Mylène Farmer, 86/97 - 26 iconic tracks from France's biggest female star. And for the first time on CD, the studio version of "La poupée qui fait non" as a duet with Khaled.