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Queen will release a 5CD+2LP super deluxe Queen II box set on 27 March 2026 via EMI, expanding the original 1974 album extensively.
The main album receives a new 2026 remix by Justin Shirley-Smith, Joshua J McRae and Kris Fredriksson, following their 2024 Queen I remix.
Bonus content spans studio outtakes, demos, BBC sessions and live concerts, including a March 1974 London Rainbow show and Golders Green Hippodrome 1973.
What makes this edition interesting from a technical standpoint is how Queen II’s famously dense multitrack architecture has been approached in the remix era. Sources close to the project describe a continuation of the Queen I philosophy: fewer period-style constraints, more forensic separation of elements that were previously committed to tape reductions. That matters on an album where guitars were stacked orchestral-style and vocals often printed hot to maintain presence. The new mix reportedly prioritises transient clarity and low-mid discipline, allowing Roger Taylor’s toms and John Deacon’s bass lines to occupy more stable real estate without softening the album’s aggressive harmonic build-ups. Spreading the album across two LPs is less about collectability and more about groove geometry—wider cuts and reduced inner-groove stress should benefit tracks like “The March Of The Black Queen,” where phase density and dynamic swings historically challenged vinyl playback.
There’s also a quiet but significant archival angle that some sources emphasise more than others: the inclusion of complete backing tracks effectively turns the box into a deconstruction kit. For engineers and long-time listeners, this disc is arguably more revealing than the sessions material, exposing how much of Queen II’s perceived heaviness comes from arrangement rather than sheer distortion. Comparisons have already been drawn with the 2011 expansion, which offered only selective alternates and an early remix; by contrast, this set leans into documentation over curation, even when that means presenting imperfect or fragmentary material. Not everyone agrees—some commentators question whether the live recordings, sourced from different venues and dates, will ever sound fully cohesive—but others argue that the rawness is the point, especially given the band’s rapid evolution during that 1973–74 window.
The Atmos-only release strategy has sparked the most debate. From a hi‑fi perspective, the absence of a physical immersive format limits serious system integration, yet it also signals confidence in the multichannel mix itself. Early chatter suggests a conservative height-channel implementation, favouring vertical ambience and choir-like vocal lifts rather than novelty placement. That restraint aligns with Brian May’s long-standing view of Queen II as “layered rock” rather than prog theatrics. In that sense, the box set isn’t trying to modernise the album’s character; it’s attempting to finally let listeners hear how ambitious—and how technically daring—it already was.
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