Welcome to the Pleasuredome, released in 1984 and produced by Trevor Horn, is the first album by Frankie Goes To Hollywood, a double opus blending synthpop, funk, and rock, marked by ambitious and provocative production. Driven by the hits “Relax,” “Two Tribes,” and “The Power of Love,” it stands out for its bold aesthetic and its strong inclination toward excess and escapism. The title track, long and immersive, exemplifies this almost cinematic sonic ambition. An immediate success and a number-one record in the UK, the album generated both debate and enthusiasm through its mix of sensuality, political overtones, and lavish production. With hindsight, it is regarded as a key landmark of 1980s pop, sitting at the crossroads of provocation, marketing ingenuity, and sonic experimentation.
To mark its 40th anniversary, the album has been given a major reissue, including a deluxe box set featuring 7 CDs and a Dolby Atmos Blu-ray mixed by Steven Wilson, now widely recognized as a leading figure in Atmos mixing, as well as a new vinyl edition crafted from his fresh stereo remix.
For this review, you will find 16 versions tested:
- Ed 1: Bluray Dolby Atmos – 2025
- Ed 2: Bluray DTSHDMA 5.1 – 2025
- Ed 3: Bluray Original Mix – 2025
- Ed 4: Bluray Stereo SW Mix – 2025
- Ed 5: Cassette – 1984
- Ed 6: Cassette Dolby HX – 1984
- Ed 7: CD – 1985
- Ed 8: CD BOX 40th – 2025
- Ed 9: Tidal – 1984
- Ed 10: Tidal – 2025
- Ed 11: Tidal Deluxe – 2025
- Ed 12: Tidal Dolby Atmos – 2025
- Ed 13: Vinyl record MOV – 2010
- Ed 14: Vinyl Record – 1984
- Ed 15: Vinyl Record 40th – 2025
- Ed 16: Vinyl Record Japan – 1984
Below you will find the description of the different editions, as well as the measurements of each edition in the following chapters.
The album is composed of 16 tracks:
- The World Is My Oyster (Including Well / Snatch Of Fury)
- Welcome To The Pleasuredome
- Relax (Come Fighting)
- War
- Two Tribes
- (Tag)
- Fury
- Born To Run
- San Jose (The Way)
- Wish (The Lads Were Here)
- Including The Ballad Of 32
- Krisco Kisses
- Black Night White Light
- The Only Star In Heaven
- The Power Of Love
- Bang
Summary, scoring and Samples
Ed 1: Bluray Dolby Atmos – 2025
Presentation
This is the Dolby Atmos TrueHD audio track from the Blu-ray. The Blu-ray is part of the 40th anniversary collector’s box set, which includes seven CDs and the Blu-ray.
SUPER DELUXE EDITION 7 CD + BLU-RAY
Unreleased + rare studio + live material + Steven Wilson Atmos Mix
🔷 Disc One: DEMOS + SESSIONS
The Arista and Phonogram demos + 1982/1983 BBC Radio 1 sessions
🔴 Disc Two: RELAX + B-SIDES
The original 7”, 12” and Cassette + B-sides + rare/unreleased mixes
🔴 Disc Three: TWO TRIBES + B-SIDES
The original 7”, 12” and Cassette + B-sides + rare/unreleased mixes
🔵 Disc Four: FROM THE VAULTS OF BLUE HELL
Rarities from the Frankie Goes To Hollywood mastertapes archive
🔴 Disc Five: THE POWER OF LOVE + B-SIDES
The original 7”, 12” and Cassette + B-sides + rare/unreleased mixes
🟡 Disc Six: WELCOME TO THE PLEASURE DOME + B-SIDES
The original 7”, 12” and Cassette + B-sides + rare/unreleased mixes
🟢 Disc Seven: WELCOME TO THE PLEASUREDOME – THE ALBUM
The legendary 1984 debut album, newly remastered
🔵 Blu-ray: STEVEN WILSON VERSION
2025 mixes in Dolby Atmos, 5.1 Surround Sound and Hi-Res Stereo
All tracks remastered by Richard Whittaker. 40-page colour book with rare photos and memorabilia plus new essay by Paul Sinclair and a Frankie Goes To Hollywood timeline by Kevin Foakes.
| Label | Universal Music Recordings |
| Reference | 602465706666 |
| State | Europe |
| Type | Blu-ray Dolby Digital TrueHD Lossless |
| Master | Dolby Atmos ADM |
| Mastering/Pressing | Atmos mixed by Stevel Wilson |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 2025 |
Spatialization:
The spatialization of Bluray Dolby Atmos – 2025 version varies from track to track, with values between 4.4 and 9.7.
Spatialization : ●●●●●●●●oo (8.4)
Below the spatialization for all tracks. Click on the images to zoom in.
Waveform and Spectrum: DR14
The waveform of the Bluray Dolby Atmos – 2025 shows a high range confirmed with DR14.
The spectrogram of the Atmos in 7.1.4 version of blu-ray shows that the signal goes down to 24 kHz (yellow arrow) and that there is no signal above this frequency (white arrow), due to the 48 kHz sampling frequency used with Dolby Digital TrueHD encoding (lossless). The green arrow shows the 120Hz filtering of the bass channel (LFE).
The graph below represents the spectrum of the Bluray Dolby Atmos – 2025.
The Dolby Atmos remix downmixed to 7.1 is based on a sampling frequency of 48 kHz, limiting the bandwidth to 24 kHz (as indicated by the yellow arrow). The LFE channel is filtered down to 120 Hz (as indicated by the green arrow).
Synthesis and listening
Steven Wilson delivers a new reference Dolby Atmos mix for this Frankie Goes To Hollywood album. The mix makes perfect use of spatialization and the immersive potential of the format, with sounds distributed throughout the entire space and subtle movement of certain instruments. Everything remains coherent and true to the spirit of the original music. A truly immersive experience to discover when listening on a multichannel Dolby Atmos system.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●o (4)
- Spatialization: ●●●●●●●●oo (8.4)
- Restitution: ●●●●o (4.5)
Sample : Relax (Come Fighting) 7.1 Dolby Atmos (Downmixed in 7.1) :
The sample is in 7.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and “Save Audio As…” and play it with an external player.
Ed 2: Bluray DTSHDMA 5.1 – 2025
Presentation
This is the DTS HDMA 5.1 audio track from the Blu-ray. The Blu-ray is part of the 40th anniversary collector’s box set, which includes seven CDs and the Blu-ray.
| Label | Universal Music Recordings |
| Reference | 602465706666 |
| State | Europe |
| Type | DTS HD Master Audio |
| Master | 5.1 24 bits 48 kHz |
| Mastering/Pressing | Remixed by Stevel Wilson |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 2025 |
Spatialization:
The spatialization of Bluray DTSHDMA 5.1 – 2025 version varies from track to track, with values between 2.0 and 4.7.
Spatialization : ●●●●o (3.7)
Below the spatialization for all tracks. Click on the images to zoom in.
Waveform and Spectrum: DR13
The waveform of the Bluray DTSHDMA 5.1 – 2025 shows a high range confirmed with DR13.
The spectrogram shows that the signal rises to 24 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 48 kHz sampling frequency.The green arrow shows there is filtering of the bass channel (LFE).
The graph below represents the spectrum of the Bluray DTSHDMA 5.1 – 2025.
The 5.1 is based on a sampling frequency of 48 kHz, limiting the bandwidth to 24 kHz (yellow arrow). The LFE channel is not filtered down to 120 Hz (as indicated by the green arrow).
Synthesis and listening
This 5.1 version doesn’t quite match the spatial depth of the Dolby Atmos mix on a 7.1.4 system, but it still delivers an excellent immersive experience, making full use of a 5.1 setup’s potential.
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●o (4)
- Spatialization: ●●●●o (3.7)
- Restitution: ●●●●o (4)
Sample : Relax (Come Fighting) 5.1 24 bits 48 kHz:
The sample is in 5.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and “Save Audio As…” and play it with an external player.
Ed 3: Bluray Original Mix – 2025
Presentation
This is the Orignal stereo audio track from the Blu-ray. The Blu-ray is part of the 40th anniversary collector’s box set, which includes seven CDs and the Blu-ray.
| Label | Universal Music Recordings |
| Reference | 602465706666 |
| State | Europe |
| Type | PMC |
| Master | 24 bits 96 kHz |
| Mastering/Pressing | Mastered By Geoff Pesch |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 2025 |
Waveform and Spectrum: DR11
The waveform of the Bluray Original Mix – 2025 version shows a good dynamic range confirmed with DR11.
The spectrogram shows that the signal rises to 48 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 96 kHz sampling frequency.
The graph below compares the spectrum of the Bluray Original Mix – 2025 (white curve) with the spectrum of the Bluray Stereo SW Mix – 2025 (blue curve).The two spectral curves show similarities, but the Steven Wilson stereo remix displays a stronger bass level (green area). Across the rest of the spectrum, only minor differences can be observed, resulting from the remixing process.
Synthesis and listening
This original version presented in high resolution is very close to the 1985 CD release, both in its tonal balance and its dynamics. The playback fully preserves the album’s characteristic sonic signature.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4)
Sample : Relax (Come Fighting) 24 bits 96 kHz:
Ed 4: Bluray Stereo SW Mix – 2025
Presentation
This is the Dolby Atmos TrueHD audio track from the Blu-ray. The Blu-ray is part of the 40th anniversary collector’s box set, which includes seven CDs and the Blu-ray.
| Label | Universal Music Recordings |
| Reference | 602465706666 |
| State | Europe |
| Type | PMC |
| Master | 24 bits 48 kHz |
| Mastering/Pressing | Remixed by Stevel Wilson |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 2025 |
Waveform and Spectrum: DR12
The waveform of the Bluray Stereo SW Mix – 2025 version shows a very good dynamic range confirmed with DR12.
The spectrogram shows that the signal rises to 24 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 48 kHz sampling frequency.
The graph below compares the spectrum of the Bluray Stereo SW Mix – 2025 (white curve) with the spectrum of the Vinyl Record 40th – 2025 (blue curve).The two spectral curves overlap almost perfectly up to 7 kHz. Beyond this frequency (yellow area), the levels remain similar, with only minor differences between the two versions. The vinyl cutting stays very true to the digital master.
Synthesis and listening
As with the vinyl record version from Steven Wilson’s mix, this edition offers a more modern sonic balance, with more prominent bass. However, this leads to a reduction of detail in the upper spectrum compared to the original version.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : Relax (Come Fighting) 24 bits 48 kHz:
Ed 5: Cassette – 1984
Presentation
This is the original analog cassette released in 1984.
| Label | Island Records |
| Reference | ZCIQ-1 |
| State | UK |
| Type | Cassette |
| Master | Analog |
| Mastering/Pressing | Mastered By Ian Cooper |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 1984 |
Waveform and Spectrum: DR10
The waveform of the Cassette – 1984 version shows a correct dynamic range confirmed with DR10.
The spectrogram shows the frequency limit of the cassette at 17 kHz (yellow arrow), beyond which the tape’s background noise can be seen (white arrow).
The graph below compares the spectrum of the Cassette – 1984 (white curve) with the spectrum of the Vinyl Record – 1984 (blue curve).The two spectral curves are similar between 80 Hz and 1 kHz. Below 80 Hz (green area), the cassette shows slightly less bass than the vinyl edition (a difference of about 2 to 3 dB). Above 1 kHz (yellow area), the gap widens between the two versions, with a gradual attenuation for the cassette (up to 6 dB) and a noticeable drop beyond 16 kHz (yellow arrow).
Synthesis and listening
This cassette edition has aged, showing a loss in the high frequencies, resulting in a sound that is less precise and less dynamic than the original vinyl version.
Rating:
- Dynamic: ●●●oo (3)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●oo (3)
- Restitution: ●●ooo (2)
Sample : Relax (Come Fighting) 24 bits 96 kHz:
Ed 6: Cassette Dolby HX – 1984
Presentation
This is the original analog audio cassette released in 1984, using Dolby HX Pro recording technology.
| Label | Island Records |
| Reference | 90232-4-H |
| State | US |
| Type | Cassette Dolby HX Pro |
| Master | Analog |
| Mastering/Pressing | Mastered By Ian Cooper |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 1984 |
Waveform and Spectrum: DR10
The waveform of the Cassette Dolby HX – 1984 version shows a correct dynamic range confirmed with DR10.
The spectrogram shows the frequency limit of the cassette at 20 kHz (yellow arrow), beyond which the tape’s background noise can be seen (white arrow).
The graph below compares the spectrum of the Cassette – 1984 (white curve) with the spectrum of the Cassette Dolby HX – 1984 (blue curve).The comparison of the two spectra highlights the contribution of Dolby HX PRO in the upper range (yellow area), with a difference that can exceed 5 dB and a gradual attenuation beyond 15 kHz. A difference can also be observed in the lower midrange (green area).
Synthesis and listening
This Dolby HX Pro version delivers a sound closer to the original vinyl release, restoring more of the original tonal balance compared to the cassette version (Ed6). However, the cassette still doesn’t match the refinement of either the vinyl or the CD version.
Rating:
- Dynamic: ●●●oo (3)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●oo (3)
- Restitution: ●●●oo (3)
Sample : Relax (Come Fighting) 24 bits 96 kHz:
Ed 7: CD – 1985
Presentation
This is the original CD version in 16 bits 44.1 kHz. This 1985 CD edition includes the long version of Two Tribes, running 9 minutes, compared to the other versions which are only 3:25 or 4 minutes long.
| Label | ZTT |
| Reference | 7196101951 |
| State | Europe |
| Type | PMC |
| Master | 16 bits 44.1 kHz |
| Mastering/Pressing | Mastered By Ian Cooper |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 1985 |
Waveform and Spectrum: DR14
The waveform of the CD – 1985 shows a high range confirmed with DR14.
The spectrogram shows that the signal rises to 22 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 44.1 kHz sampling frequency.
The graph below compares the spectrum of the CD – 1985 (white curve) with the spectrum of the Bluray Original Mix – 2025 (blue curve).The two spectral curves are very similar, although the original CD edition shows a slightly higher bass level (green area), about 2 to 3 dB higher.
Synthesis and listening
The 1985 CD version offers listening with more presence in the lower spectrum than the original vinyl releases, but with a slightly reduced soundstage width compared to vinyl.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : Relax (Come Fighting) 16 bits 44.1 kHz:
Ed 8: CD BOX 40th – 2025
Presentation
This is the CD7 audio track from the Box. The Blu-ray is part of the 40th anniversary collector’s box set, which includes seven CDs and the Blu-ray.
| Label | Universal Music Recordings |
| Reference | 602465706666 |
| State | Europe |
| Type | PMC |
| Master | 16 bits 44.1 kHz |
| Mastering/Pressing | Remix by Stevel Wilson |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 2025 |
Waveform and Spectrum: DR11
The waveform of the CD BOX 40th – 2025 version shows a good dynamic range confirmed with DR11.
The spectrogram shows that the signal rises to 22 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 44.1 kHz sampling frequency.
The graph below compares the spectrum of the CD BOX 40th – 2025 (white curve) with the spectrum of the CD – 1985 (blue curve).The two spectral curves are very similar, although the original CD edition shows a slightly higher bass level (green area), about 2 to 3 dB higher.
Synthesis and listening
This 40th anniversary CD version is close to the Tidal Deluxe version. It maintains good dynamics, though with slightly less detail than the original CD version.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●oo (3.5)
Sample : Relax (Come Fighting) 16 bits 44.1 kHz:
Ed 9: Tidal – 1984
Presentation
This is the original version presented on Tidal in 16 bits 44.1 kHz.
| Label | ZTT |
| Reference | Tidal High 1984 (link) |
| State | Europe |
| Type | Streaming |
| Master | 16 bits 44.1 kHz |
| Mastering/Pressing | Mastered By Ian Cooper |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 1984 |
Waveform and Spectrum: DR14
The waveform of the Tidal – 1984 shows a high range confirmed with DR14.
The spectrogram shows that the signal rises to 22 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 44.1 kHz sampling frequency.
The graph below compares the spectrum of the Tidal – 1984 (white curve) with the spectrum of the CD – 1985 (blue curve). The two curves overlap perfectly, showing that the same original master was used.
Synthesis and listening
This Tidal version is the one that delivers a sound closest to the original 1985 CD release.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : Relax (Come Fighting) 16 bits 44.1 kHz:
Ed 10: Tidal – 2025
Presentation
This is the 40th anniversary collector Super Deluxe presented on Tidal in 16 bits 44.1 kHz.
| Label | ZTT |
| Reference | Tidal High Super Deluxe (link) |
| State | Europe |
| Type | Streaming |
| Master | 16 bits 44.1 kHz |
| Mastering/Pressing | Mastered By Geoff Pesch |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 2025 |
Waveform and Spectrum: DR9
The waveform of the Tidal – 2025 version shows a low dynamic range confirmed with DR9.
The spectrogram shows that the signal rises to 22 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 44.1 kHz sampling frequency.
The graph below compares the spectrum of the Tidal – 2025 (white curve) with the spectrum of the Tidal – 1984 (blue curve).The two curves overlap almost perfectly, with a very slight difference in the bass (green area).
Synthesis and listening
This Tidal version is the most dynamically compressed one, causing the album to lose both precision and energy.
Rating:
- Dynamic: ●●ooo (2.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●ooo (2.5)
Sample : Relax (Come Fighting) 16 bits 44.1 kHz:
Ed 11: Tidal Deluxe – 2025
Presentation
This is the Deluxe version presented on Tidal in 16 bits 44.1 kHz.
| Label | ZTT |
| Reference | Tidal High Deluxe (link) |
| State | Europe |
| Type | Streaming |
| Master | 16 bits 44.1 kHz |
| Mastering/Pressing | Mastered By Geoff Pesch |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 2025 |
Waveform and Spectrum: DR10
The waveform of the Tidal Deluxe – 2025 version shows a correct dynamic range confirmed with DR10.
The spectrogram shows that the signal rises to 22 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 44.1 kHz sampling frequency.
The graph below compares the spectrum of the Tidal Deluxe – 2025 (white curve) with the spectrum of the Tidal – 2025 (blue curve).The two curves overlap perfectly, showing that the same original master was used.
Synthesis and listening
This Tidal Deluxe version is more dynamic than the 2025 release, but it’s still inferior in the details to the 1984 Tidal version, which remains the closest to the original recording.
Rating:
- Dynamic: ●●●oo (3)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●oo (3)
Sample : Relax (Come Fighting) 16 bits 44.1 kHz:
Ed 12: Tidal Dolby Atmos – 2025
Presentation
This is the Tidal Dolby Atmos presented in Dolby Digital Plus (768 kbits/s) or AC-4 .
| Label | ZTT |
| Reference | Tidal Dolby Atmos (link) |
| State | Europe |
| Type | Streaming |
| Master | Dolby Digital Plus Atmos 768 kbits/s |
| Mastering/Pressing | Dolby Atmos remixed by Steven Wilson |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 2025 |
Spatialization:
The spatialization of Tidal Dolby Atmos – 2025 version varies from track to track, with values between 3.8 and 9.6.
Spatialization : ●●●●●●●●oo (8.4)
Below the spatialization for all tracks. Click on the images to zoom in.
Waveform and Spectrum: DR14
The waveform of the Tidal Dolby Atmos – 2025 shows a high range confirmed with DR14.
The spectrogram of the Tidal Dolby Atmos track in 7.1.4 is limited to 20kHz (yellow arrow) with no signal above (white arrow). This limitation is due to Dolby Digital Plus encoding, which is a lossy encoder that limits bandwidth to optimize data size for a bit rate of 768 kbits/s. The green arrow shows the 120Hz filtering of the bass channel (LFE).
The graph below represents the spectrum of the Tidal Dolby Atmos – 2025.
The spectrum of Dolby Atmos version decoded in 7.1 shows that all channels are used. The LFE channel is used with a cutoff frequency of 120 Hz (green arrow). The white arrow indicates the high-frequency limit at 20 kHz due to Dolby Digital Plus encoding. The yellow arrow indicates the high-frequency limit at 24 kHz due to encoding at the 48 kHz sampling frequency used.
Synthesis and listening
As is often the case, the streaming Dolby Atmos version encoded in Dolby Digital Plus is inferior to the Blu-ray Dolby Atmos TrueHD version in terms of detail and spatial precision. However, if you don’t have the Blu-ray, this version still allows you to experience and appreciate Steven Wilson’s excellent mixing work.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●o (4)
- Spatialization: ●●●●●●●●oo (8.4)
- Restitution: ●●●oo (3.5)
Sample : Relax (Come Fighting) 7.1 Dolby Atmos (Downmixed in 7.1) :
The sample is in 7.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and “Save Audio As…” and play it with an external player.
Ed 13: Vinyl record MOV – 2010
Presentation
This is the Music On Vinyl record released in 2010. The short track “Tag” is not available on the LP side B.
| Label | ZTT |
| Reference | MOVLP116 |
| State | Europe |
| Type | Vinyl record |
| Master | 33.33 rpm double LP |
| Mastering/Pressing | Mastered By Ian Cooper |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 1984 |
Waveform and Spectrum: DR13
The waveform of the Vinyl record MOV – 2010 shows a high range confirmed with DR13.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
The graph below compares the spectrum of the Vinyl record MOV – 2010 (white curve) with the spectrum of the Vinyl Record – 1984 (blue curve). The two spectral curves are similar, but the MOV vinyl shows a 2 to 3 dB boost in the bass (green area) and a high-frequency roll-off above 10 kHz (yellow area) of up to 4 dB. These differences result in a slightly different tonal balance.
Synthesis and listening
This Music On Vinyl edition slightly alters the tonal balance by boosting the low end and softening the highs, a difference that’s immediately noticeable when listening. The result is less distinctive than Steven Wilson’s 40th Anniversary vinyl edition and stays closer to the original version. Ultimately, it’s a matter of taste: if you find the original version too “bright,” this one might appeal to you. Otherwise, it lacks a bit of high-end detail compared to the original.
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●oo (3.5)
Sample : Relax (Come Fighting) 24 bits 192 kHz:
Ed 14: Vinyl Record – 1984
Presentation
This is the original french vinyl record released in 1984.
| Label | ZTT – Phonogram |
| Reference | 42282405210 |
| State | France |
| Type | Vinyl record |
| Master | 33.33 rpm double LP |
| Mastering/Pressing | Mastered By Ian Cooper |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 1984 |
Waveform and Spectrum: DR12
The waveform of the Vinyl Record – 1984 version shows a very good dynamic range confirmed with DR12.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
The graph below compares the spectrum of the Vinyl Record – 1984 (white curve) with the spectrum of the CD – 1985 (blue curve).The two spectral curves are similar, but the CD shows a 2 to 3 dB boost in the bass (green area). Beyond 22 kHz, the signal continues for the vinyl record (yellow arrow), which corresponds to distortion and noise produced by the vinyl playback process.
Synthesis and listening
The original French version is slightly brighter than the Japanese one, with a bit more presence in the treble and slightly less emphasis in the bass. This also applies when compared with the original CD version, which has stronger bass and a slightly narrower spatial presentation in the lower frequencies.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : Relax (Come Fighting) 24 bits 192 kHz:
Ed 15: Vinyl Record 40th – 2025
Presentation
This is the 40th anniversary vinyl record remixed by Steven Wilson and released in 2025.
| Label | Universal Music Recordings |
| Reference | 602465706659 |
| State | Worldwide |
| Type | Vinyl record |
| Master | 33.33 rpm double LP |
| Mastering/Pressing | Remixed by Steven Wilson |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 2025 |
Waveform and Spectrum: DR13
The waveform of the Vinyl Record 40th – 2025 shows a high range confirmed with DR13.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
The graph below compares the spectrum of the Vinyl Record 40th – 2025 (white curve) with the spectrum of the Vinyl Record – 1984 (blue curve).The spectral curve of the 40th anniversary vinyl shows a higher level in the bass (green area), with a difference of up to 5 dB, as well as an increase in the high frequencies above 10 kHz (yellow area) of up to 3 dB.
Synthesis and listening
With a more pronounced low end, Steven Wilson’s remix offers a new perspective on the album. However, the soundstage is narrower, and the new tonal balance reduces some of the high-end detail compared to the original vinyl versions.
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●oo (3.5)
- Restitution: ●●●oo (3.5)
Sample : Relax (Come Fighting) 24 bits 192 kHz:
Ed 16: Vinyl Record Japan – 1984
Presentation
This is the original japanese vinyl record released in 1984.
| Label | ZTT |
| Reference | 19SI-256-7 |
| State | Japan |
| Type | Vinyl record |
| Master | 33.33 rpm double LP |
| Mastering/Pressing | Mastered By Ian Cooper |
| Original recording | Analog |
| State | UK |
| Year original | 1984 |
| Year production | 2025 |
Waveform and Spectrum: DR13
The waveform of the Vinyl Record Japan – 1984 shows a high range confirmed with DR13.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
The graph below compares the spectrum of the Vinyl Record Japan – 1984 (white curve) with the spectrum of the Vinyl Record – 1984 (blue curve).The curves of these two vinyl editions overlap almost perfectly, with a very slight difference in the bass (green area), the Japanese edition showing less than 2 dB more.
Synthesis and listening
Close to the French vinyl edition, this Japanese version has a balance that slightly tones down the high frequencies, bringing it a bit closer to the original CD edition. Among the versions tested, it’s probably one of the most pleasant to listen to on vinyl.
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●●o (4.5)
Sample : Relax (Come Fighting) 24 bits 192 kHz:
A landmark album of the 1980s, Welcome To The Pleasuredome has a distinctive sonic signature that can be heard on the original CD and vinyl releases as well as on the Blu-ray edition (original stereo track). The original vinyl pressing offers a slightly wider soundstage compared to the digital versions.
The various remastered editions attempt to alter this tonal balance, as does Steven Wilson’s stereo remix. When listening, the result does sound more even, but some of the high-frequency details, a hallmark of the album’s original sound, are diminished.
Ultimately, it all comes down to personal taste between the original mix and the remixed version, listening to samples will help you decide which one you prefer.
We can see that streaming services offer several versions of this album, including the original version, which retains its full dynamics. However, the 2025 streaming version is noticeably less dynamic than the CD edition.
One of the major highlights of this 40th anniversary edition, presented in a beautifully designed deluxe box, is the Dolby Atmos TrueHD version included on the Blu-ray disc. It offers a new way to experience the album, with immersive spatial effects that expand the sound into the full listening environment. The music takes full advantage of the 360-degree space, with a coherent distribution of instruments, effects, and vocals..
Steven Wilson once again demonstrates his mastery of Dolby Atmos remixing, bringing modern clarity to the sound while remaining faithful to the spirit of the original work.
Dynamic Range measurements are shown below.
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Measurements
Dynamic Range comparaisons
Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).
For our 16 editions reviewed have obtained the following Dynamic Range (DR) :
| Bluray Dolby Atmos – 2025 | Bluray DTSHDMA 5.1 – 2025 | Bluray Original Mix – 2025 | Bluray Stereo SW Mix – 2025 | Cassette – 1984 | Cassette Dolby HX – 1984 | CD – 1985 | CD BOX 40th – 2025 | Tidal – 1984 | Tidal – 2025 | Tidal Deluxe – 2025 | Tidal Dolby Atmos – 2025 | Vinyl record MOV – 2010 | Vinyl Record – 1984 | Vinyl Record 40th – 2025 | Vinyl Record Japan – 1984 | |
| Global | DR14 | DR13 | DR11 | DR12 | DR10 | DR10 | DR14 | DR11 | DR14 | DR9 | DR10 | DR14 | DR13 | DR12 | DR13 | DR13 |
| Min | DR9 | DR9 | DR10 | DR9 | DR8 | DR9 | DR10 | DR8 | DR11 | DR8 | DR8 | DR10 | DR10 | DR10 | DR9 | DR10 |
| Max | DR18 | DR16 | DR13 | DR13 | DR13 | DR11 | DR16 | DR17 | DR18 | DR11 | DR15 | DR18 | DR14 | DR14 | DR14 | DR14 |
| The World Is My Oyster (Including Well / Snatch Of Fury) | DR11 | DR10 | DR13 | DR12 | DR11 | DR10 | DR13 | DR11 | DR13 | DR11 | DR10 | DR13 | DR13 | DR12 | DR13 | DR13 |
| Welcome To The Pleasuredome | DR18 | DR16 | DR12 | DR13 | DR11 | DR10 | DR16 | DR15 | DR16 | DR9 | DR15 | DR18 | DR14 | DR13 | DR14 | DR13 |
| Relax (Come Fighting) | DR14 | DR13 | DR11 | DR11 | DR9 | DR9 | DR13 | DR12 | DR13 | DR10 | DR12 | DR14 | DR13 | DR12 | DR13 | DR12 |
| War | DR15 | DR14 | DR11 | DR12 | DR10 | DR10 | DR14 | DR10 | DR14 | DR10 | DR10 | DR15 | DR13 | DR12 | DR14 | DR13 |
| Two Tribes | DR14 | DR14 | DR11 | DR11 | DR11 | DR9 | DR15 | DR8 | DR14 | DR8 | DR8 | DR14 | DR13 | DR12 | DR13 | DR13 |
| (Tag) | Included in track 5 | Included in track 5 | Included in track 5 | Included in track 5 | DR13 | DR9 | Included in track 5 | DR9 | DR18 | DR10 | DR9 | DR15 | Not available | DR14 | DR11 | DR11 |
| Fury | DR10 | DR11 | DR10 | DR11 | DR9 | DR9 | DR10 | DR8 | DR11 | DR8 | DR8 | DR10 | DR10 | DR10 | DR9 | DR10 |
| Born To Run | DR9 | DR9 | DR10 | DR9 | DR8 | DR9 | DR13 | DR17 | DR13 | DR10 | DR13 | DR14 | DR12 | DR12 | DR12 | DR13 |
| San Jose (The Way) | DR14 | DR13 | DR11 | DR12 | DR9 | DR11 | DR15 | DR11 | DR11 | DR9 | DR11 | DR14 | DR13 | DR12 | DR12 | DR13 |
| Wish (The Lads Were Here) | DR14 | DR14 | DR12 | DR13 | DR10 | DR10 | DR14 | DR9 | DR13 | DR10 | DR9 | DR14 | DR13 | DR13 | DR13 | DR14 |
| Including The Ballad Of 32 | DR14 | DR14 | DR13 | DR13 | DR11 | DR11 | DR14 | DR13 | DR14 | DR9 | DR13 | DR15 | DR13 | DR13 | DR14 | DR14 |
| Krisco Kisses | DR14 | DR13 | DR12 | DR12 | DR10 | DR10 | DR14 | DR10 | DR14 | DR9 | DR10 | DR14 | DR14 | DR13 | DR12 | DR13 |
| Black Night White Light | DR16 | DR15 | DR12 | DR12 | DR9 | DR10 | DR14 | DR11 | DR14 | DR6 | DR11 | DR17 | DR13 | DR12 | DR13 | DR13 |
| The Only Star In Heaven | DR15 | DR14 | DR12 | DR13 | DR11 | DR10 | DR14 | DR9 | DR14 | DR7 | DR9 | DR15 | DR13 | DR13 | DR13 | DR15 |
| The Power Of Love | DR14 | DR14 | DR12 | DR13 | DR10 | DR10 | DR13 | DR9 | DR13 | DR7 | DR9 | DR14 | DR13 | DR12 | DR13 | DR13 |
| Bang | DR13 | DR13 | DR11 | DR12 | DR10 | DR9 | DR11 | DR10 | DR11 | DR6 | DR10 | DR13 | DR11 | DR11 | DR12 | DR12 |
As a reminder, the scale goes from 0 to more 20, but the dynamics are considered good from 12, quite good between 10 and 11, and deteriorate below 10.
Detail of the ratings :
- Dynamic :
- Significant dynamic compression, DR less than 7
- Compression of the present dynamics, DR between 7 and 9.
- Correct piece DR >=10
- No dynamic compression (DR >12), dynamic rendering
- No dynamic compression, high DR and very dynamic sound rendering
- Spectrum :
- Spectrum cut and less than 15 khz
- Spectrum cut at 15 khz
- Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
- Spectrum conforming to the original (but not HD)
- Spectrum conforming to the original with HD resolution (higher than 24kHz)
- Surface noise (only for vinyl):
- Continuous audible noise
- Audible surface noise except on passages with a high level of noise
- Reduced surface noise, barely audible on low level crossings
- Low surface noise, very good quality
- Very low surface noise, no defects, almost inaudible on the quiet passages (exceptional disc)
- Spatialization :
- Between 0 and 5 for 5.1 or 7.1 channels configuration
- Between 0 and 10 for Atmos configuration (7.1.4)
- For more information on spatialization, you can read the article describing this parameter here.
- Restitution :
- Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
- Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
- Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
- High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
- Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.
What a fantastic work ! Thank you. Very interesting readings
I wonder whether the less high frequency detail and sound stage depth you observe is more a hardware issue as opposed to a software issue, the increased punch of say the Steven Wilson mix versus the original mix makes it harder for your speakers to reproduce the detail due to the increased vibrations.
I recently placed some carbon fibre isolation discs between my floorstanding speaker spikes and the wooden floor and the increase in high frequency detail was not insignificant.
Thank you for your feedback, but the listening tests were carried out on several systems (including one built around Genelec speakers and another high-efficiency setup) as well as on headphones. The listening impressions were consistent across all playback systems.
This is therefore not a hardware issue, but a genuine listening observation, which is also confirmed by the measurements.