The shady Gescom collective's crackshot A1-D1, back on road for all CD fetishists and breakbeat/edit freaks
Originally dispatched on a pair of 12”s (hence the track titles A1-D1) in 2007, nearly a decade after their ‘MiniDisc’ album for Russell Haswell’s OR, it's a deadly demo of their ADD edit tendencies applied to classic acid, electro and disco breaks in properly wild style.
Personally, it’s most notable for the peerless ‘D1’, a nutty stop-start/reverse-edited cut-up of Adonis’ über classique acid melter ‘No Way Back’, which still sees a lot of play up our way. But those who keep their shell toes clean will also go mad for the sliced up breakbeat chicanery of ‘A1’, a take on the sci-fi B-boy disco ace ‘Space Dust’, and that twyst on ‘Downfall’ by Armando is pretty tasty, too.
It’s maybe fair to say ‘A1-D1’ is among the most sorely overlooked pieces in Gescom’s catalogue, yet by many measures, it’s also their most funked up.
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The shady Gescom collective's crackshot A1-D1, back on road for all CD fetishists and breakbeat/edit freaks
Originally dispatched on a pair of 12”s (hence the track titles A1-D1) in 2007, nearly a decade after their ‘MiniDisc’ album for Russell Haswell’s OR, it's a deadly demo of their ADD edit tendencies applied to classic acid, electro and disco breaks in properly wild style.
Personally, it’s most notable for the peerless ‘D1’, a nutty stop-start/reverse-edited cut-up of Adonis’ über classique acid melter ‘No Way Back’, which still sees a lot of play up our way. But those who keep their shell toes clean will also go mad for the sliced up breakbeat chicanery of ‘A1’, a take on the sci-fi B-boy disco ace ‘Space Dust’, and that twyst on ‘Downfall’ by Armando is pretty tasty, too.
It’s maybe fair to say ‘A1-D1’ is among the most sorely overlooked pieces in Gescom’s catalogue, yet by many measures, it’s also their most funked up.
The shady Gescom collective's crackshot A1-D1, back on road for all CD fetishists and breakbeat/edit freaks
Originally dispatched on a pair of 12”s (hence the track titles A1-D1) in 2007, nearly a decade after their ‘MiniDisc’ album for Russell Haswell’s OR, it's a deadly demo of their ADD edit tendencies applied to classic acid, electro and disco breaks in properly wild style.
Personally, it’s most notable for the peerless ‘D1’, a nutty stop-start/reverse-edited cut-up of Adonis’ über classique acid melter ‘No Way Back’, which still sees a lot of play up our way. But those who keep their shell toes clean will also go mad for the sliced up breakbeat chicanery of ‘A1’, a take on the sci-fi B-boy disco ace ‘Space Dust’, and that twyst on ‘Downfall’ by Armando is pretty tasty, too.
It’s maybe fair to say ‘A1-D1’ is among the most sorely overlooked pieces in Gescom’s catalogue, yet by many measures, it’s also their most funked up.
The shady Gescom collective's crackshot A1-D1, back on road for all CD fetishists and breakbeat/edit freaks
Originally dispatched on a pair of 12”s (hence the track titles A1-D1) in 2007, nearly a decade after their ‘MiniDisc’ album for Russell Haswell’s OR, it's a deadly demo of their ADD edit tendencies applied to classic acid, electro and disco breaks in properly wild style.
Personally, it’s most notable for the peerless ‘D1’, a nutty stop-start/reverse-edited cut-up of Adonis’ über classique acid melter ‘No Way Back’, which still sees a lot of play up our way. But those who keep their shell toes clean will also go mad for the sliced up breakbeat chicanery of ‘A1’, a take on the sci-fi B-boy disco ace ‘Space Dust’, and that twyst on ‘Downfall’ by Armando is pretty tasty, too.
It’s maybe fair to say ‘A1-D1’ is among the most sorely overlooked pieces in Gescom’s catalogue, yet by many measures, it’s also their most funked up.