SANO レコード& CD

Review: Thus far, Cult Edits has proved to be one of the most interesting and intriguing rework re-edits series around, with each 12-inch offering an impressive selection of cosmic, exotic and otherworldly reworks. Volume four continues on a similar theme. Manfredas kicks things off with the dirty ragga-house pressure of "Riddim", before Thomass Jackson has his way with a far-out tribal disco chugger on EP standout "Build The Bridge". Mid-'80s electronic Afro-chug is the order of the day on Balam's "Lentombi", while Inigo Vontier's "Makata" is percussive, heavily electronic, weird and undeniably druggy. In comparison, Sano's chant-along Afro-electro number "Bantu" is positively breezy.

Review: Munk and Kapote's Toy Tonics label can just do no wrong. As well as the essential Support Ukraine Compilation there have been drops this year from Sam Ruffillo and Digital Ivan, and now they're following up the Lost Gomma Mixes 12" with this selection of versions from the Toy Tonics archives. First up Mangabey gets a swirling, psychedelic soul treatment from Folamour, before Pontchartrain gets into a heady deep house stew with Felipe Gordon's 'Tell Me Something True'. Demuja gets the beats bumping and the chords fuzzed out on the killer 'Brissy', while Sano and Kapote round the record off with the cool and deadly piano stabs of 'Sabrosito Tool'.

Review: Ace London via Glasgow operation Huntleys & Palmers return with a second Chapter, their irregular series of split releases. Whereas the first one issued almost a year ago drew for some crazy club material from artists closely associated with the label, this second edition seeks out contributions from outside talent. Any record that features contributions from both Optimo Music Golden Teacher and Wolf Muller is going to get our seal of approval and both are highlights. The latter opens proceedings with the wonderfully off kilter "Rudeltanz", whilst Golden Teacher's "What Time Is it" comes off like a pitched down Charles Manier cut. Further contributions from Comeme artist Sano, Studio Barnhus act Usio, and Discos Capablanca associate Oklo Gabon will all nice up the dance too!

Review: Odopt is back on Especial and this time is in collaborative mode with Sebastian Hoyos aka Sano, who is a regular on the likes of Matias Aguayo's Comeme and Munich's Public Possession. The pair cook up a fine globally-minded club trip that comes with another label return, this time from remixer Jamie Paton. The original 'Picha' first started as a sketch in 2016 then became a demo in 2019 now finally arrives on wax. It's a raw percussive workout with razor-sharp snares and plenty of cowbells. Next to an instrumental comes the Paton remix and it is a trademark deep and dubwise piece of work with widescreen dynamics.

Review: Since first popping up on Comeme in 2012, Barcelona-based Colombian Sebastian "Sano" Hoyos has been responsible for a smattering of superb EPs and a sole bustling full-length. This is his second outing on the eccentric Public Possession imprint and sees him deliver a trio of quirky cuts that mix vocals and rhythms from his home country (re-played on battered drum machines) with synthesizer sounds from the 1980s. This blend is most potent on cheery, tropical synth-pop A-side "El Tecnopop", but can also be heard on "El Juancho", where non-stop vocals, darting acid synths and foreboding bass ride a layered, tribal drum groove. Also impressive is closer "No Quiero Nada Contigo", a drum-machine driven cumbia outing that makes great use of sampled scratches and weird electronics.

Review: There's something distinctly old-fashioned about this debut album for Colombian techno/tech-house upstart "Sano". Take "Paranoia", for example; with its alien bleeps, cosmic rhythms and distinct urban atmopsherics, it sounds like an unlikely early '90s face-off between Richard H Kirk, LFO and Renegade Soundwave. There are plenty more vintage references throughout - see the murky acid of "Me Without You", and the sci-fi synths and sparse drum machine rhythms of "Contoneate" - alongside a range of weird, wonderful and entertaining tracks that veer from tropical hypnotism ("Anestesia") to wobbkly analogue funk ("Transilvania No Mercy"). As a result, Sano is a hugely entertaining debut.

Review: Hailing from Colombia's second-largest city, Medellin, Sano joins Comeme mainstays Rebolledo and Daniel Maloso in gracing the label with a full length. The ten track album will be Hoyos' second release for the irrepressible Comeme, having first showcased his approach with last year's Chupa EP, a five track EP mixed down by Scott 'Deadbeat' Monteith. Lo-fi acid house opens the LP in "I Don't", with the album moving through a spooky and vamped array of techno in "Paranoia", to more traditional Chicago house in "Me Without You" (that features a similar pop aesthetic to Chilean band Panico). Things slow down just after the album's halfway point with the plucked twang of "Anestesia" and syncopated drawl of "Boqueron", before going out with a bang to the hooting "Necrophilic Love".