Roxy Music’s For Your Pleasure is getting the expansive reissue treatment on November 6, 2026, with expanded CDs, vinyl editions, demos, outtakes, BBC sessions, archival video and a substantial 116-page book.

There’s just one rather important omission.

The $131.76 U.S. Super Deluxe Edition includes three CDs and a DVD, but not the new Blu-ray Audio disc containing Dolby Atmos, two different 5.1 surround mixes, new stereo and a 192kHz/24-bit flat transfer of the original 1973 stereo mix.

For that, you’ll need to order the separately sold Blu-ray from the UK-based SDE shop for £29.99, plus applicable shipping.

Apparently “Super Deluxe” only gets you so far.

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Why For Your Pleasure?

Released in 1973, For Your Pleasure was Roxy Music’s second album and the final studio album featuring Brian Eno as a member of the band.

That also makes it unusually well suited to an immersive remix. Tracks such as “Do The Strand,” “Editions Of You,” “In Every Dream Home A Heartache” and the title track are loaded with guitars, synthesizers, saxophone, tape treatments and studio effects.

We haven’t heard the new mix yet, so declaring it definitive would be rather premature. But if you’re going to pull a classic Roxy Music album apart and rebuild it across an Atmos soundfield, this is a pretty good place to start.

The Blu-ray Is Where Things Get Interesting

Bob Clearmountain has created a new 48kHz/24-bit Dolby Atmos mix, along with new 5.1 and stereo mixes. Steven Wilson contributes a completely separate 96kHz/24-bit 5.1 mix.

That means surround listeners can actually compare two different interpretations of the same album rather than simply choosing between stereo and Atmos.

The disc also includes a 192kHz/24-bit flat transfer of the original 1973 stereo mix, so the original presentation hasn’t been tossed aside in favor of the new versions.

“Pyjamarama” receives Dolby Atmos, Clearmountain and Wilson 5.1 mixes, and stereo versions, while “The Pride And The Pain” is included in Wilson’s 5.1 mix and original stereo. More than an hour of studio outtakes and BBC material is also included in 48kHz/24-bit stereo.

For all of us, that is what makes this release different. This isn’t merely another remaster of an album many fans already own on LP or CD. It offers several genuinely different ways to hear the recording.

So What’s Missing From the Super Deluxe Box?

The Blu-ray.

The official Super Deluxe package gives you three CDs loaded with the original album, demos, rehearsals, studio outtakes, singles and live sessions. Its DVD adds television and concert performances from 1972 and 1973, including The Old Grey Whistle Test, Montreux and Musikladen. There’s also the 116-page book.

What you don’t get are the Dolby Atmos mix, either of the two 5.1 mixes, Clearmountain’s new stereo mix or the 192/24 transfer.

There’s no vinyl in the Super Deluxe box either; the LP editions are separate purchases.

So if you want everything, your credit card gets an encore.

Why You Might Actually Need the Blu-ray

If you already own For Your Pleasure, another conventional CD or vinyl edition may be difficult to justify.

The Blu-ray is a different proposition.

Two 5.1 mixes by Bob Clearmountain and Steven Wilson, lossless Dolby Atmos, a new stereo mix and a 192/24 transfer of the original stereo presentation make this something you can actually use to explore the recording rather than simply admire on a shelf.

The Atmos presentation is also encoded using Dolby TrueHD, providing the lossless Blu-ray implementation rather than the Dolby Digital Plus format generally used for Atmos music streaming.

At £29.99, the standalone Blu-ray may therefore be the most compelling part of the entire reissue campaign for listeners with a proper stereo, surround or Dolby Atmos system. U.S. buyers can order it from SDE, which ships internationally, but there is currently no separate official U.S. dollar list price.

There is another catch: it is a time-limited release, with preorders scheduled to close at midnight GMT on August 27, 2026.

Roxy Music fans have plenty to celebrate here. The strange part is that the disc audiophiles and home theater enthusiasts will probably want most is precisely the one missing from the $131.76 Super Deluxe Edition.

Where to pre-order (available Nov. 6, 2026):

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You might have a small kitchen, but that doesn’t mean you can’t make cafe-quality coffee at home. I test over a dozen coffee makers every year in my own small space, and I’ve found that when it comes to preparing delicious espresso, size really isn’t everything.

If you want a machine that will prepare 40 different beverages at the press of a button then, yes, you’ll need to dedicate a significant amount of space on your kitchen counter to a hefty fully automatic machine. However, if you just want to make delicious espresso, there are far smaller options that will do a superb job.

Miles Davis has been reissued often enough to qualify for his own pressing plant, so another version of Cookin’ With the Miles Davis Quintet needs a reason to exist. Craft Recordings has one with this new $39 Original Jazz Classics edition, mastered AAA from the original tapes at Cohearent Audio, pressed on 180-gram vinyl at RTI and housed in a Stoughton tip-on jacket.

More importantly, it sounds excellent and offers a far easier alternative to hunting down a clean Prestige original that has survived nearly 70 years of worn styli, cigarette smoke, bodily fluids, basement storage and optimistic Discogs grading. This Miles Davis Cookin’ review asks the more useful question: does Craft Recordings’ new $39 Original Jazz Classics pressing give you enough of the magic without paying collector prices for somebody else’s history?

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Four Albums From Two Historic Sessions

By 1956, Miles Davis had outgrown Prestige, Columbia wanted him, and Miles found a way to make the divorce work for everybody. Still under contract to Prestige, he signed with Columbia with Bob Weinstock’s blessing, agreeing to give Prestige enough material to stockpile future albums while Columbia waited to release its first Miles recordings. The solution was two marathon sessions at Rudy Van Gelder’s Hackensack studio on May 11 and October 26 with John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones. Prestige eventually turned those dates into Cookin’, Relaxin’, Workin’ and Steamin’ — four albums that sound considerably less like contractual housekeeping than one of the great jazz bands kicking the door off its hinges.

The reason is fairly simple: this was a working band, not five famous names assembled for a session photo. Months of touring and club dates had tightened the First Great Quintet to the point that Van Gelder’s studio could be treated almost like another gig; aside from a second attempt at “The Theme,” the material from the two marathon dates was captured in first takes. Cookin’, released in July 1957 and drawn from the October 26 session, feels spontaneous because the musicians had already done the hard work onstage.

“My Funny Valentine” strips the group down by having Coltrane sit out, leaving Miles enough oxygen to demonstrate why silence and space could be every bit as important as the notes coming out of his horn. “Blues by Five” lets Garland, Chambers and Philly Joe Jones dig in, while Sonny Rollins’ “Airegin” gives Coltrane room to bring more friction and urgency against Miles’ cooler phrasing. By the closing “Tune Up/When Lights Are Low,” there is no sense of five musicians taking turns; they are listening, reacting and pushing one another in real time. That is why Cookin’ still works nearly 70 years later. It sounds less like an album being made than a very good night that somebody had the sense to record.

How Does the New OJC Sound?

The review copy is exceptionally clean and well centered, with virtually no distracting surface noise. Although Cookin’ was recorded in mono, the instrumental definition is excellent, with Miles, Coltrane, Garland, Chambers and Jones remaining easy to distinguish throughout the recording. There is a convincing sense of space around the musicians, which allows the performances to breathe without sacrificing the density and energy of the quintet.

The horns are especially well handled. Miles has plenty of bite and presence but never becomes hot or piercing, while Coltrane retains his harder edge without sounding exaggerated. Chambers and Jones provide enough weight and propulsion to keep everything grounded, and nothing about the mastering tries to make a 1956 Rudy Van Gelder recording sound artificially modern.

Is It Worth $39?

If you already own a genuinely clean VG+ original or another excellent audiophile pressing, there is no compelling reason to replace it. For everyone else, this is a very strong value, combining AAA mastering from the original tapes, an excellent RTI pressing and quality packaging without the increasingly common $60, $75 or $100 audiophile vinyl tax.

Miles Davis was a once-in-a-lifetime musician: difficult, opinionated and equipped with an ego substantial enough to require its own rhythm section, perhaps, but none of that mattered once the horn reached his lips. Nearly 70 years later, very few musicians have sounded so unmistakably themselves within the first few notes.

Considering the session took place in Hackensack, sending Miles and the band to Hiram’s afterward probably requires surrendering my North Jersey credentials. White Manna was already serving its famous little burgers nearby, and Hackensack residents are currently cookin’ over plans to move the actual 80-year-old diner about a mile up the road and expand it. The building is coming along for the ride, but judging by some of the reaction, you would think they were relocating the George Washington Bridge.

Miles probably would have ignored the entire argument. He could have cooked those burgers with his horn, and nearly 70 years later, Cookin’ still does exactly what the title promises.

Our Ratings:

★★★★★★★★★★ Music

★★★★★★★★★★ Sound Quality

★★★★★★★★★★ Pressing Quality

Where to Buy:

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Anna and Elsa appear to be heading through a portal into a world of icy crystal butterflies next year, according to the first trailer for the third installment in the juggernaut Frozen franchise. 

Unveiled during Disney’s biennial fan convention D23 in Anaheim on Friday night, the Frozen 3 trailer was presented by Idina Menzel and Kristen Bell.

Frozen 3 is set “far from Arendelle in a frozen land more wild and dangerous,” Menzel said.

The trailer opens with a shot of the northern lights, where a snowflake falls and turns into a butterfly that flies to Arendelle Castle. It collides with Elsa during Anna and Kristoff’s wedding, and a portal opens. They step through it, finding an icy world filled with butterflies and an as-yet faceless new villain with dark hair who has been looking for Elsa.

Josh Gad also appeared on stage at D23 to sing a love song about a new snow woman named Samantha, with Menzel and Bell hinting that every character will have a love interest.

Disney also used D23 to show off the new Anna and Elsa costumes that kids across the globe will be demanding soon, with the ice queen now styled in a purple-blue ombre long-sleeved dress with a blue hooded cape, and the queen of Arendelle in a pleated pink dress and cape with a turquoise undershirt. In the trailer, Queen Anna wears a white wedding dress with flowers embroidered on it while Elsa is in a mauve dress.

The Frozen 3 trailer was revealed just over a year from its release date of Nov 24, 2027. To prepare for the return to Arendelle, you can stream both Frozen movies and multiple Frozen shorts on Disney Plus.

Corinne Reichert

Senior Editor

Corinne Reichert (she/her) grew up in Sydney, Australia and moved to California in 2019. She holds degrees in law and communications, and currently writes news, analysis and features for CNET across the topics of electric vehicles, broadband networks, mobile devices, big tech, artificial intelligence, home technology and entertainment. In her spare time, she watches soccer games and F1 races, and goes to Disneyland as often as possible.

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Doing anything on a frozen lake can carries some amount of risk. Nevertheless, every year events ranging from car racing to ice skating are held on them. As such, proper safety precautions are needed, the most important of which is ensuring the ice is thick enough to withstand the weight of whatever may be on it. This is done by cutting holes into the ice and measuring its depth in several locations. But this is a dangerous and imperfect process only giving a rough picture of actual thickness. So to solves these problems, a team of students at ETH Zurich made an ice measuring submersible drone. 

The concept of ice measurement employed is, on paper, reasonably simple. When a sonar pulse is sent out, some of the energy will return off the bottom of the ice sheet, but some of it will pass through creating a second return. By measuring the difference in these two returns, the thickness can be calculate with a high degree of precision. Attach the sonar to a submersible and give it a positioning system and you can simply get a thickness map, right? Well, employing theory in practice is a far more complicated prospect as the students soon found out.

The submersible itself is slightly positively buoyant. It features two concrete ballasts to adjust the center of gravity and six propulsion motors for six degrees of freedom. It’s powered by a NVIDIA Jetson to allow for autonomous operations and a whole host of sensors. Navigation is handled by a variety of sensors, mostly GPS and SBL. The GPS antenna sits in a radome at the top of the submersible, allowing for a strong enough signal for a positional fix when touching the bottom of the ice. SBL works similarly to sonar, where a transmitter on the submarine sends out an audio ping, received by a trio of hydrophones used to calculate the drone’s position.

But does all this complexity really work? Well, mostly. A number of real-world factors greatly compound the submarine’s effectiveness. The signal noise from in the sonar makes accurate measurements nigh impossible with that methodology. As such, the team used a depth based approach, by touching the submarine to the bottom of the ice, and measuring the water pressure and therefore depth, the ice’s thickness can be easily calculated. However, this method too is not without flaws. When snow falls on alpine lakes, it pushes the ice sheet downward, and a new ice sheet can form on top. This top sheet’s layer is what’s most important, but the depth measurement can only take into account the overall sheet’s thickness. Regardless, this was a really impressive first test of the submersible, and we look forward to seeing where it goes from here!

Make sure to check out this autonomous submarine next! 

General Motors is making a major change to its electric vehicles: every GM EV for the 2027 model year will get a native North American Charging Standard (NACS) port. Chevrolet, Cadillac and GMC models will all make the switch, allowing drivers to connect directly to compatible Tesla Superchargers and other NACS fast-charging networks without carrying a DC charging adapter.

According to a report by Electrek, the move covers GM’s entire 2027 EV lineup, including the Cadillac Escalade IQ, Escalade IQL, Lyriq, Optiq and Vistiq; Chevrolet Bolt EV, Blazer EV, Equinox EV and Silverado EV; and the GMC Hummer EV Pickup, Hummer EV SUV and Sierra EV.

GM is finally making fast charging less complicated

The change matters because charging standards have been one of the more frustrating parts of owning an EV. Most 2026 GM electric vehicles still use the older CCS1 connector, meaning owners need GM’s $275 NACS DC adapter to access compatible Tesla Superchargers and other NACS fast chargers.

The 2026 Cadillac Optiq has already made the transition, while the reborn Chevrolet Bolt, arriving in 2026 as a 2027 model, will also feature a native NACS port. Drivers buying a 2027 GM EV will still need adapters for some older charging infrastructure. CCS1 DC fast chargers will require a separate adapter, while most existing Level 2 charging equipment uses the J1772 connector. GM sells those adapters for $189 and $67, respectively, or $256 as a package.

For anyone shopping for a new GM EV, the native port should remove one particularly annoying piece of equipment from the charging routine. Plugging into a compatible Tesla Supercharger should work without reaching into the trunk for an adapter.

One charging app could make the experience even easier

GM is also trying to reduce the number of charging apps and accounts EV owners have to juggle. Energy Pass is integrated into the MyChevrolet, MyCadillac and MyGMC apps, allowing drivers to register and pay across multiple charging networks from a single account.

Supported networks currently include Tesla Supercharger, IONNA, Electrify America and ChargePoint, with EVgo planned for later. GM says the combined networks represent nearly 70% of U.S. DC fast chargers. Plug & Charge is also supported at compatible stations, allowing the vehicle to handle authentication while payment is processed automatically. The feature is already live at IONNA and is being expanded to additional networks, including Tesla Superchargers.

GM’s 2027 lineup should make fast charging considerably simpler, particularly for road trips. CCS1 and J1772 adapters will still be worth keeping in the trunk, though. The charging standard may be settling down, but the old infrastructure isn’t disappearing overnight.