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Ron 'Bumblefoot' Thal is a celebrated guitarist, producer, composer, and educator with a career spanning over 30 years. Known for his groundbreaking techniques, Bumblefoothas performed with bands such as Guns N' Roses, Asia, Sons of Apollo, and Whom Gods Destroy. He is back with a brand-new instrumental album, 'Bumblefoot ...Returns!'. Thirty years after his debut solo instrumental album, BUMBLEFOOT revisits his roots with a 14-track masterpiece that spans genres from metal to orchestral to blues. 'Bumblefoot ...Returns!' features collaborations with iconic musicians, including Brian May, Steve Vai, Guthrie Govan, Derek Sherinian, and others, showcasing BUMBLEFOOT's innovative guitar techniques, such as his signature fretless guitar and "thimble technique." The limited edition double vinyl includes a UV-printed d-side, CD is a digi-sleeve with a single disc and a 4-panel square foldout poster, with double-sided art.

‘Idealism’ is an album about navigating life in the 2020s as millennial adults, and all the difficulties and uncertainties that come with that - knowing you’ll probably never be able to afford to buy a house, and that a simple grocery shop costs way more than ever before. But it’s also about all the joys and positives of modern life too - being kind to yourself, being kind to other people, and overcoming difficulties.
The band tries to capture that dichotomy on this album, hence the title ‘Idealism’, which the dictionary says is “the unrealistic belief in or pursuit of perfection”.
The album has been a long time in the making, diligently demoed before tracking across studios in London & Essex. Taking a more pop production approach, layering parts and additional keyboards, synthesisers and percussion to add a richer and fuller sound to their traditional indie rock set up.
Nostalgia has always been a running theme for Don’t Worry, as displayed on 2022’s ‘Remorseless Swing’ and 2018 debut album ‘Who Cares Anyway?’. There’s a decent dose of it on this new album still, including on the cover, with a photograph taken in their home of Harlow New Town in 2001 by Jim Brown. And in their musical influences, Pavement, Pixies, Smashing Pumpkins, The Streets, Fleetwood Mac, UK Grime and The GTA Vice City Soundtrack (alongside contemporary influences such as Fontaines D.C., MJ Lenderman, Andy Shauf).
But perhaps for the first time on this album, they push through the comfort of the past, embrace the present and look forward to the future with hope.

Voodoo 5 brings Exotica to Alternative Tentacles with “Moon Over Marin”! In a genre where most bands are content to imitate old records, Voodoo 5 are making new ones—brave, bold, and unlike any exotica record you’ve ever heard. Led by composer/guitarist Skip Heller—producer to/protege of Robert Drasnin, orchestrator for Elisabeth Waldo, bandleader for Yma Sumac—and vocalist Lena Marie Cardinale, an operatic Sumac acolyte and former El Vez Elvette, Voodoo 5 has established themselves as a blistering live act not only at exotica festivals like Tiki Oasis and Tiki Caliente, but also such jazz venues as the Century Room (Tucson), Carousel (Palm Springs), and at various clubs in Los Angeles, their home base. Cardinale and Heller are rounded out by an all-star ensemble (Jay Work, flute, Mark Riddle, vibraphone, Connor Gallaher, steel guitar, Paul Eckman, upright bass, and Cesar Ventura, congas) who groove harder than do most exotica groups, all the while spotlessly executing some of the most interesting arrangements the genre has to offer.

Though Scratch may have at times seemed crazy, it is worth noting that creative
genius appears so because geniuses see things others do not see and inhabit
realities unseen. As the music on this album reveals, Lee Perry's Black Ark creations
re-arrange the familiar into something new and magical.
Lee spent his early days working with legendary producers Coxsone Dodd, Duke Reid,
Joe Gibbs, Clancy Eccles and Prince Buster, and by 1968 he was an independent
producer, naming his studio musicians The Upsetters and scoring instrumental hits
with innovative rhythms that helped forge the new reggae style. In 1970-1971 he
produced what many consider the greatest works by the Wailers; in 1968 one of his
Upsetters productions hit #5 on the UK pop chart and more hits followed. That gave
him the funds to build his own studio and in 1973 the legendary Black Ark was born.
Among the many landmark classics cut at Black Ark are such incisive political
commentaries as Max Romeo's "War Ina Babylon," and Junior Murvin's "Police and
Thieves" (covered by the Clash). The Congos' "Heart of the Congos" album is a roots
classic and there are many wonderful obscure singles such as Carlton and the Shoes'
"Better Days." Many dub creations made innovative use of Scratch's sonic wizardry via
echo, phasing, reverb, fanging, wah-wah and various sound effects.
It all came to an end in 1978 as Lee, besieged by extortionists, freeloaders, religious
fanatics and assorted pilgrims, let the studio lapse. And then he set it on fre, some
say due to frustration, others say from mental collapse. He left Jamaica, collaborated
with musicians around the world, toured as a sort of mystic trickster/ shaman and
prospered. But his work at Black Ark will always stand as his ultimate creative
achievement.

The CD version will be released via Rotten Roll, while the vinyl will be exclusively
available through Kernkraftritter - two titans of the extreme music scene joining forces
to deliver pure goregrind chaos!
What can you expect?
A relentless onslaught of brutal riffs, blistering blast beats, and the unmistakable
vocals that have made Rectal Smegma legends. Perfect production, intense artwork
and tracks that will rip your eardrums apart.
A strong contender for the grindcore release of the year!
Join the celebration!
To properly unleash this masterpiece, an Epik release party will take place on March
29, 2025, in Braunschweig! Together with Kernkraftritter Rectal Smegma will turn the
venue into a battlefeld of infatable animals, toilet paper, and pure chaos!
Stay tuned, follow Rectal Smegma on social media, and prepare for the grindcore
apocalypse! In the meantime, Rectal Smegma will stay on duty To Serve And Protect.

Formed in 2012 by long-time musical companions Oyvind Holm and Hogne Galaen,
the band quickly grew into the six- piece musical force they are today. Their unique
sound fuses cosmic Americana and rich vocal harmonies with catchy melodies, highspirited improvisation, and contagious musical energy that will leave you craving
more.
The six members come from diverse musical backgrounds but are united by their
shared love of psychedelia and cosmic Americana. They draw particular inspiration
from the California sound of the late '60s, with bands like The Byrds, Crosby, Stills,
Nash & Young, and the Grateful Dead as key infuences.
Between 2012 and 2019, the band recorded and released fve critically acclaimed
albums, two of which were recorded in the California desert at the legendary Rancho
De La Luna, nestled among the Joshua trees. Like many other artists, the pandemic
shook their foundations, forcing the band into an involuntary hiatus. In the aftermath
of lockdowns and other imposed restrictions, the backlash from other projects kept
them from picking up where they had left off.
However, the fall of 2024 brought new opportunities. An unexpected email from Mike
Scott of The Waterboys reignited their spirit and motivation. While on tour in Norway,
Scott discovered one of their albums and was so taken by their sound that he invited
them to contribute vocal harmonies to 'The Tourist,' a track off The Waterboys' new
album Life, Death & Dennis Hopper.
Soon after, an even greater opportunity arose--an invitation to join The Waterboys on
tour in the UK and Scandinavia. To accompany the upcoming tour, we've put together
a beginner's guide to Sugarfoot.
The compilation album Cosmic Norse Americana features nine highlights from
Sugarfoot's career so far, along with a newly recorded cover of Emitt Rhodes' 1967
track "Time Will Show The Wiser."
Sugarfoot:
Hogne Galaen - guitars, vocals
Even Granas - drums
Thomas Henriksen - keyboards
Oyvind Holm - guitars, vocals
Bent Saether - bass
Roar Oien - pedal steel
THOUGHTS AND WORDS
The Sugarfoot story begins back in 2011. But before there was Sugarfoot, there were
the Dipsomaniacs, Kulta Beats, Motorpsycho, Too Far Gone, and Deleted Waveform
Gatherings--bands that, in one way or another, featured future members of what would
eventually become Sugarfoot. Six musicians from diverse musical backgrounds,
united by a shared love of psychedelia and cosmic Americana. Drawing deep
inspiration from the California sound of the late '60s, their musical compass points
toward The Byrds, Crosby, Stills, Nash & Young, and the Grateful Dead.
I say eventually, because Sugarfoot didn't start as a band--it began as a duo. Hogne
Galaen and Oyvind Holm had previously played together in Deleted Waveform
Gatherings. But when their drummer moved out of town, the group was put on ice. Not
ones to sit still, the two of them launched a side project to keep the creative wheels
turning.
Throughout the winter of 2011, they holed up in their rehearsal space, writing and
recording rough sketches of what would soon grow into a full album. And that's when
things got interesting. They drew up a wish list--a dream lineup of musicians they'd
love to bring into the fold.
Among the names on that list were Even Granas, Thomas Henriksen, Bent Saether,
and Roar Oien, all soon to be permanent Sugarfooters. Each was invited to contribute
to the project, adding their parts to the pre-recorded tracks--without knowing what the
others were doing. Like assembling a giant musical puzzle, Galaen and Holm later
pieced the album together from these blindfolded contributions. The result was This
Love That We Outwore, released in the fall of 2012.
From there, things escalated quickly. By the following year, Sugarfoot had become a
proper band. Big Sky Country-- written and recorded collectively-- landed in 2014,
solidifying the group's evolving sound, including favourites such as Dolphins Hotel and
Ego In A Bag. When it came time to record a third album, the band felt the itch for
something new. They wanted a change of scenery--somewhere that could spark fresh
inspiration and leave its own sonic fngerprint on the production. So they asked
themselves: where could they go that carried the spirit, the legacy, the stardust of their
musical heroes?
That search led them to the California desert, to the legendary Rancho De La Luna,
nestled among the Joshua trees. Their next two albums, Different Stars (2016) and
The Santa Ana (2017), were both recorded at the Rancho. In fact, The Santa Ana was
both recorded and mixed during a two- week stay in 2015, making it a true time
capsule in the band's discography.

Token presents the 6th chapter of the Fuga series. Challenging new faces to complete the label's sound, Fuga VI is another focused compilation that balances spatial detail and rhythmic bite.

Skipping any introduction to dive straight into the essence of the compilation, Skjöld portrays 'Forbidden City' as a tense aquatic exploration. With pressure in the low end, he keeps the record alive by conjuring obscure pads to give dimension and intrigue to an already nervous track. This persistence is quickly met with weight; Tapefeed's 'Residual Memory' follows up to tap into the label's more aggressive side. Riddled with mechanical sound design bordering on the industrial, the Tapefeed duo creates dancefloor dominating energy that sets them apart with an all-out approach. The density of this second track feeds smoothly into Stephen Disario's 'Out Of Tune' - a drum-forward record with dispersed texture. The LA based producer puts his hi hats brutally forward to cut through the space, finding a remarkable balance between its two sides and exploiting its confrontation. Returning to the label's recognizable resonance, Merino steps in with 'Memoria' - a manic 5 minute synth loop with minimal percussion. Dealing in restraint and dissonance, Merino naturally finds a home in Fuga VI with this track before heading back into the peak time paranoia of JSPRV35 in 'Question'. Pushing up the intensity and flicking through vintage percussion lines, 'Question' is an extraverted homage to the origins of techno that embodies flair. The track drives through the middle of Fuga with ease, bouncing rhythm off a sharp bassline with thundering claps and snares. 'Catch 22' by Terminus restores balance with minimalism but pace. A hypnotic break in the second half is sure to mesmerize dancers and home listeners alike. Stuttering hats shake throughout 'Catch 22' to push the track along, keeping the harmony low and maintaining focus on the movement. With a similar tempo, Sanna Mun follows up with 'Binary Systems'. A speedrun through an acid-like bassline, the track's rhythm is obsessive and persistent as we reach the conclusion of the compilation. Fuga VI comes full circle with a ghostly track by Mode_1 called 'Lifespan', stretching time and tunneling through with booming toms and shuffled hats. Keeping the pressure high and maintaining that never ending energy is the only way to wrap up such a high energy release and Mode_1 does just that.

For its third installment, NEUMA presents As Above, So Below—a collaborative
release by Matteo Manfellotti and Jorge Gamarra. On the A-side, Waveratio’s
Distorted Analytics and Heart of Darkness set the tone with a fusion of techno,
electro, and trance-infused energy. The B-side features both producers working
together under their new project, Former Being, delivering tracks that maintain
the same intensity while shifting toward a more EBM-influenced sound, marked
by evolving structures and a mysterious atmospheres.

From the underground of Buenos Aires, we present this new EP from the talented
duo Happy 707 called ‘Your Body’, with 5 tracks including a remix from the great
New York producer Black Light Smoke.

The EP contains tracks that go through Techno, Electro, EBM & industrial sounds,
heavy atmospheres with energetic rhythms that will make vibrate every place
where they are played.

Composed and arranged by Tomas Palmariello & May McLaren.
Mixing - Happy707
Mastering - Analog Cut
Artwork: Konsaro
Physical distribution - Outside In
D21 Latin America 2025

Black Vinyl LP. The world has changed, we shouldn't try and pretend otherwise. While we were shut away in isolation our routines shifted, social patterns evolved, and our hopes and dreams were twisted into cobwebs we're still trying to wipe from our fingers. Ziúr tentatively approached this on her last album Antifate, an ambitious and complex hybrid pop fever dream that looked back to a Medieval escapist fantasy as the scent of revolution seemed to hum in the air. But when restrictions were eased, she found herself staring down a discombobulated society that had trapped itself in a spiral of microwaved nostalgia and detached, narcotic repetition. Eyeroll then is Ziúr's musical panacea, a tincture to wake us from our creative slumber and prompt external connection and reflection. It's a polyphonous hex that demands human interaction, and Ziúr's hand-picked alliance of collaborators - Elvin Brandhi, Abdullah Miniawy, Iceboy Violet, Juliana Huxtable, Ledef, and James Ginzburg - each provide distinct voices that together herald a bewildering sonic epoch. Ziúr's palette had to evolve to match the scope of the project, but it was pure necessity that informed the album's defining tone. Recording mostly at night, Ziúr was conscious of the noise she was making so developed a unique way to record organic percussion. Using a set of rototoms - low profile tunable drums - she scratched, scraped and gently tapped the skins to build up the undulating and unstable rhythmic backdrop for each track. It's the first sound we hear on the opener 'Eyeroll', rattling like lost marbles against Elvin Brandhi's primal croaks and screams. And when Brandhi's twisted articulations form words, Ziúr matches the energy with chaotic thuds and serrated blasts of saturated electronics. "I roll the shittiest cigarette," she squeals like she's about to start a mosh pit at Paris's GRM Studios. Without pause, Abdullah Miniawy takes over on 'Malikan', building on the promise of material with Simo Cell, Carl Gari and HVAD with corrosive trumpet blasts and charged, politically incendiary Arabic vocals. Inspired by pre-Islamic poetry and the Qu'ranic chanters he heard growing up in Saudi Arabia and Egypt, he spins labyrinthine stories that cross between the worlds, breaking down physical and spiritual borders simultaneously. Miniawy's scope is expanded even further on his second collaboration, 'If The City Burns I Will Not Run'. "If it rains and the city drowns," he utters over gaseous electronics, "I will not run away, but I will be anxious for the heart of one close to me." After a supple vocal turn from Manchester's Iceboy Violet on 'Move On' and a surreal interlude from poet- DJ-artist-theorist Juliana Huxtable on '99 Favor Taste', Brandhi returns with two more hyperactive collaborations: ,'Nontrivial Differential' and 'Cut Cut Quote'. On the former she slices into Ziúr's skeletal jazz eruptions, screaming and crooning interchangeably, fluxing between the rap battle and the cabaret. The latter is completely different meanwhile, with Brandhi settling into her role as front-woman and groaning dizzying improvised passages that sound like grunge crossed with psychedelic no-wave. Brandhi's spiky musical history has prepared her well for this collaboration; she's a prolific producer and has been using her voice spontaneously since debuting with father-daughter improv duo Yeah You in the mid 2020s. She's found an ideal foil in Ziúr, a producer who matches her restless energy and willingness to bend formality, and leaves an indelible mark on Eyeroll. But the album's most tender moments are from Ziúr herself, who winds the album down on 'Hasty Revisionism', growling over collapsible beats and cascading strings, and comes to an unexpected conclusion with country coda 'Lacrymaturity'. Its feverish amalgamation of country music and euphoric, experimental electronics might seem incongruous at first, but in context with the rest of the album is the only possible conclusion. With Eyeroll Ziúr is making a firm statement about togetherness, humanity, and the renewal of hope when all seems lost. By bringing together such a wide but philosophically harmonic team of collaborators, she's conducted a body of work that speaks to the creative fringe in no uncertain terms. Now's the time to throw away what you think you know, and build bridges you didn't think you need. Now's the time for action. She may have spent her entire career avoiding the solipsistic trappings of "queer art", but by assembling a communal statement that questions so many normative assumptions about music, politics, and beyond, Ziúr has chanced upon her queerest album yet. Cringe? Eyeroll.

Repress!

The Labor Days 20th Anniversary Edition 2xLP is pressed on metallic copper vinyl. Labor Days was Aesop Rock's fourth release and his third full-length studio album. The project was originally released in 2001 as his first album on Definitive Jux. The album includes popular songs "Daylight" and "9-5ers Anthem", and guest features from Illogic and C-Rayz Walz, as well as production from Aesop Rock, Blockhead, and Omega One.

Claremont 56 founder Paul ‘Mudd’ Murphy has been in a rich vein of creative form of late. Having released his first solo album in 18 years in 2024, the effervescent and picture-perfect 'In The Garden of Mindfulness', Murphy is well on his way to finishing solo LP number three – a set you’ll be able to hear in full later in 2025. To get us in the mood, he’s offering up a two-track taster featuring instrumental takes on cuts that will appear as full-vocal songs on the final album. Both were written with, and feature instrumentation by, regular collaborator Michele Chiavarini, an Italian musician, producer, composer, and arranger who has long been part of the Claremont 56 family.

Up first is ‘Mahalo (12" Instrumental Mix)’, a languid and emotion-rich groover built around a smooth, mid-tempo jazz-funk-goes-disco groove – think crispy drums, delay-laden hand percussion and rubbery bass guitar – and all manner of ear-catching musical details. As the track unfolds, you can expect to hear lilting strings, warming electric piano chords, mazy synth solos, heady horn-style blasts and glistening, eyes-closed guitar licks. It’s a genuinely superb slab of musically rich dancefloor warmth. The track that follows, ‘Mata Ne’, is an altogether dreamier and more dub-influenced affair. Featuring some sublime piano playing from Chiavarini, it sees Murphy layer simmering strings, cascading guitar licks, spacey synths and blissed-out melodic motifs atop the kind of chunky, dubby groove that has long been one of his aural trademarks. Offering positivity and melancholia in equal measure, ‘Mata Ne’ is Mudd at his most musically majestic. His forthcoming album will be worth waiting for.

“Everytime I try” by DJ Chus & Cevin Fisher was one of the biggest worldwide club hits in Summer 2023. That catchy acid-inspired synth line, along with Chus’ signature driving percussion and Cevin’s iconic voice preaching such an inspired message was a peak hour favorite immediately upon release.

And now comes the well-deserved and much anticipated remix treatment. Wheats adds some minimal leaning deep tech flavor with an appealingly mutated effect added to the vocal; Audio Junkies retains the acid based synth line but strips it down and then builds it back up with some new melodic elements that will open up the track to a dancefloor community that looks for more eclectic house music sounds; and finally the 12” includes the Viot remix where this emerging Brazilian producer adds building hypnotic rhythmic elements that give the track an early morning feel to go along with its already established peak hour energy. Rounding out the 12” is the original DJ Chus extended mix, released on vinyl now for the first time as part of this remix package.

This release comes in special yellow colored vinyl.

Papa Records is excited to announce its latest release: two dancefloor ready tracks featuring the Diplomats Of Soul, Incognito, and Vanessa Haynes.
On Side A, you’ll find "Sweet Power Your Embrace," a remix of James Mason's iconic Jazz-Funk masterpiece by Terry Hunter & Emmaculate 7”.
Side B features a remix by Micky More & Andy Tee of "Never Gonna Fall In Love Again (Like I Fell In Love With You).

Includes a huge remake of James Mason’s iconic jazz-funk masterpiece – ‘Sweet Power Your Embrace’
A new 7” of soul classics by Diplomats of Soul with legendary UK band Incognito & Vanessa Haynes
Remixes courtesy of Chicago house legend Terry Hunter & Emmaculate, alongside sought after Italian production duo Micky More & Andy Tee.

There’s something oddly comforting in the idea of a dead star still sending signals — distant, mechanical, yet somehow filled with meaning. Inertia and the whole record, tap into that contradiction: the sensation of being impossibly far from home, yet still drawn toward something vast, unseen, and filled with memory.

Written & produced by Dangkhoa Chau
Mastered by Stefan Betke at Scapemastering
Vinyl pressed at AFG Record Manufacturing
Distributed by Readymade Distribution
Curation & artwork by Severja

deleted because bad quality !!!





'Hot Ring' sees label alpha-bear Stevie Kotey team up here with alpha-producer Bottin for a spicy, seasonal warmer. First conceived in a Venice studio session on one of Stevies regular DJ trips to Italy, the chunky discoid romper has finally seen the light of day.

The original is probably exactly what you would expect when the 1975-to-1983 music mind of Stevie melds with the Italo-movieslasher-synthbrain-tweaker that is Bottin. Lots of stabs, rolling bass and tight drums. All tied together with new synth sounds which you probably haven't heard before.





Things go dance-floor when Bottin re-rubs things down for the stripped down dub. UK based Fernando moves the groove a thousand or so miles north with a shiny and slick crisp-disco version.

Stevies 'Kotey Extra Band' collaboration album drops around Easter 2010 so stay tuned for a sleuth of bear love-ins.

Cosmin TRG is a Romanian producer who crafted some of the underground's most innovative sounds a decade or so ago, before going off to work in other creative worlds. Here, for the first time, he links with countryman DYL for a special EP that is decidedly futuristic. 'Manevre' is Romanian for 'manoeuvres' and comes in three different parts. Each one is fluid minimal sound with deft rhythms, fizzing pads, eerie melodies, sub-aquatic motifs and always absorbing atmospheres. Tammo Hesselink also adds a remix that has more prominent drums, lurching loops and menacing dystopian energy.

Transitioning from the successful 2 Years EP (O Sótão Records, 2023), Tiago Fonseca became an up and coming Producer and DJ based between Lisbon and Porto. On the back of gigs at some of the best clubs in the country, he also transitions from Tiago A.F. to TGZ (sounding Tigz) as his moniker for what’s to come ahead. Long Shape, his latest project, is O Sótão’s first vinyl release, and the first to be delivered with higher standards of professionalism. Learning the trade, the processes, the timeframes, the costs, and having just completed 10 years of existence. A good time to go a bit deeper.

In the summer, Tiago sent me a golden playlist of unfinished projects for a second opinion. The idea for a new record started there, and from the bunch we handpicked a selection that ended up making really a lot of sense for us. We were looking for wet deepness and eternal warm ups, pulling up the fader slowly. An invitation to leave our mental capsules and divert attention towards a seductive bassline cliff-hanging a dream. Progressiveness and jazz. Long shapes and melodies in the last frontier between nostalgia and hope.

To help, we invited Miguel Tenreiro (a.k.a. Gazpa) to master the tracks, with him adding a smooth-extra-delicious pump on the beautiful original elements. Miguel also picked up the title-track for a remix treatment, breaking up the tempo with a hip-hop-electronica finale, sprinkled by a guitar solo from Zé Nuno - another great musician stemming from Mr. Bean’s bar, where we held a residency for the past year.

Long Shape will drop on March 21st. Vinyls might be only available a bit later. It will be a landmark moment for us, being Tiago’s most complete work to date, and a better representation of his rich musical influences, expanding it, as we speak, to another level. It’s also been 10 years for O Sótão, so there’s that too. To sum up, I’m just very glad that Long Shape sounds exactly where we would like to be after all this time, with a quick image of a nite-lit skyscraper cutting into a couple of rocks being dropped in the coolest whiskey glass, and the people warming up to a dream.

Edition of 100 Vinyl 12’’, Cover 3mm spine

“I cross the void beyond the mind. The empty space that circles time... Eternal wisdom is my guide. I am the Doctor!” Demon Records celebrates Jon Pertwee’s flamboyant portrayal of the famous Time Lord, 55 years after he made his screen debut on 3 January 1970. Available on Blue and 4 x Blue and Green Vinyl, with a beautifully illustrated cover, this set presents Jon Pertwee narrating two classic Doctor Who Target Books, an array of bonus Jon Pertwee audio appearances, and his own 1972 pop single, Who Is The Doctor? Doctor Who and the Curse of Peladon is Brian Hayles’ abridged TV novelisation set on a medieval-style world, and Doctor Who and the Planet of the Daleks is Terrance Dicks’s abridged adaptation of the Terry Nation adventure set on the jungle-like Spiridon. Bonus features are also included on each disc spanning the 1970s to the 1990s, including BBC radio interviews, a Goodwood Races sketch with Elisabeth Sladen, comedy featuring Mel Giedroyc, and tributes paid by family members and Doctor Who producers. This also includes a frameable photographic print of the Third Doctor. Accompanied by the BBC Radiophonic Workshop’s familiar Doctor Who theme, the Jon Pertwee Collection celebrates one of the most stylish, iconic and beloved Doctors of all