A CD delicately placed in a beautiful fold-out gatefold digipak. With various words and phrases to clarify and confuse.
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Handshake savaged the idea of Satie, and shunted it into the ocean.
Handshake mangled the Satie influence, made mincemeat of it, whilst simultaneously marveling at the relationship between an eccentric French composer from the late 19th/early 20th Century sleeping, tossing and turning under the blanket of impressionism, and early 21st century electronic music, screening, wrecking and reasoning under the skin of expressionism.
Handshake pointed out that if this was a ghost story, then there should be something that seemed to materialise in the vicinity of the frightening.
Handshake in fact took the track from Where The Night Goes that was directly about the life and possibility of Erik Satie, Someone Was Saying, and beat it to a deadly pulp.
Handshake crushed into a ball the relationship between Satie, Infantjoy, the night and a journey between the beginning of an album and the end of an album. It became the part of With's journey spent inside a dark tunnel.
Satie was the light at the end of the tunnel that was always in the distance. Handshake got so angry, so worked up at working out what to do next with the rhythm and the meaning, that the whole piece ended up paralysed by it's own momentum. It shuddered to a timely halt. Motion was squeezed to a standstill by motion. Fury dissolved into silence.
Infantjoy noted that this helped them on their way, on their journey away from their first record and toward their third album.
Everyone in the room shook hands, clapped hands, and held hands - this was still a kind of séance, and there were still spirits to deal with.