Steven Wilson has announced the addition of a brand-new Dolby Atmos mix, revised stereo and 5.1, and a binaural version of Gentle Giant‘s 1974 album The Power And The Glory to his high-resolution digital platform, Headphone Dust, along with a raft of other releases from Storm Corrosion, Hawkwind and his own 2020 album The Future Bites.
“I’m so happy to share this new Atmos mix of The Power And The Glory, it’s almost as if the music of Gentle Giant, with its layering and complex counterpoint in both the instrumental and vocal departments, was made with spatial audio in mind,” Wilson states. “For me this is simply some of the most sophisticated and beautiful progressive rock music ever created, so I’m very proud to be hosting it on the new Headphone Dust platform”.
“I’m delighted to be working with Steven on his new spatial audio platform Headphone Dust,” adds Gentle Giant frontman Derek Shulman. “Steven has been instrumental in recognising nuances in Gentle Giant’s recordings that perhaps even the band hadn’t fully realised, so to be one of the first artists to be featured on Headphone Dust is both an honour and a virtual audio hug!”
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A new 2026 Headphone Dust edition of the band’s 1975 album, Free Hand, is also being made available, which includes Steven Wilson’s 2020 Dolby Atmos mix alongside 5.1 surround sound, hi-res stereo mixes, as well as an exclusive binaural ‘Headphone Dust’ mix designed for spatial audio on any pair of headphones, and visuals accompanying every track.
Hawkwind’s seminal 1975 album, Warrior On The Edge Of Time, is released with a revised and updated version of Wilson’s 2013 stereo and 5.1 remix, plus an exclusive brand new Dolby Atmos mix, as well as several bonus tracks in stereo.
Storm Corrosion, Wilson’s 2012 collaboration with Opeth‘s Mikael Åkerfeldt, sees all of the contents of the 2024 Kscope Blu-ray edition (Dolby Atmos remix by Steven Wilson, Hi-Res Stereo and 5.1 Surround Sound mixes) as well as Jess Cope’s Drag Ropes video, a documentary about the record, unheard demos and a recording of the duo’s only live performance at one of Steven’s Royal Albert Hall shows in 2015. Talking about the album, Wilson says, “In many ways it’s become the cult classic we always intended it to be”.
Wilson’s own The Future Bites is released with Dolby Atmos, high-resolution 5.1 surround sound, high-resolution stereo, and high-resolution instrumental mixes, remixes by Nile Rodgers, Biffy Clyro, Pure Reason Revolution, Tangerine Dream and others, along with nine non-album tracks recorded during the same sessions.
And finally, Catalogue / Preserve / Amass is a 2012 live album previously available as a tour-only CD and cut-down Record Store Day vinyl edition, which documents Wilson’s first-ever European solo tour in October 2011, which features a 70-minute live set that features a 24-minute version of Raider II and includes Lasse Hoile’s live visual films for Index, Sectarian and Raider II – released publicly for the first time.
Wilson launched Headphone Dust to bypass the compromises of streaming. He says the idea was born out of mounting frustration with how spatial audio is currently distributed and is a permanent home for those mixes and his own music, offering what he calls the equivalent of a “virtual Blu-ray.” Albums are sold as Definitive Digital Editions, bundling Dolby Atmos, 5.1 surround, hi-res stereo, binaural mixes, visuals and PDFs into a single MKV file, alongside FLAC downloads.
“You buy it, you download it, and you own it,” Wilson says. It also addresses what Wilson sees as the growing obsolescence of physical formats. “Blu-rays go out of print and the music becomes unavailable or insanely expensive online. With this, nothing ever has to disappear.”
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