Various
Discount DJs present Vol. 2

After Nu Guinea’s LP, Nuova Napoli, and Napoli Segreta first compilation, NG RECORDS follows up with an exploration into the unknown groovy side of Naples by releasing Napoli Segreta Vol.2.Famiglia Discocristiana, DNApoli and Nu Guinea team up again selecting more tracks from their archives, for a new compilation containing 9 mysterious Neapolitan tracks, found in the most hidden corners of remote flea markets around the Vesuvius.But forget classical Neapolitan songs, "'O Sole Mio" or "Luna Rossa"... Forget about what you expect to find once you land in town... oh and also forget about Google maps. Take a dodgy local guide, keep your eyes open, and follow it to enter the secret downtown, the underground, the routes that no satellite can detect, but beware there is no easy way out.Napoli Segreta Vol.2 is a musical journey into the sonic landscapes of Naples that you have never heard of before. A variety of genres merging soul, disco, funk, blues, new wave, afro-beat and boogie, including lyrics in Neapolitan urban slang, instrumental tracks with progressive flavour, and also some unexpected covers!

SSCAS3 - US - 2017

Piña Edits 007 by Piña Edits

Creak​-​whoosh (Estonian, Ingrian and Votian song re​-​imagined in Australia by Olev Muska and Mihkel Tartu)‘Creak Whoosh’ is a collection of choral ballads originating in the Finno-Ugric regions of Estonia and Ingria, electronically adapted predominantly by Olev Muska and Mihkel Tartu, based around the contemporary arrangements of Veljo Tormis.Originally established as ‘Kiri-uu’, the project was undertaken by the children of Estonian refugees, most of whom grew up over 8,000 miles away in the metropolis of Sydney, Australia. With the majority having never visited the land of their ancestors prior to the tour of 1989, the first generations reshaping of these ancient folk tales conveys Seeger’s process amidst displacement and its subsequent fringe-culture. Estonian bards are carried forth this time into the 21st century, a revised selection of the original 1988 recordings accompanied by ‘Tšimmairuudiralla’ allowing for new perspectives and, perhaps crucially, a truly global audience.