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26—09—13
Three decades on, Palestine’s Karenina gets the ceremonial treatment it deserves: O’Sullivan’s tape loops turn his ’97 falsetto into phantom harmonies while Ambarchi’s Leslie guitar and organ drones build something between a séance and a church basement rave. It’s the kind of patient, layered maximalism that only works when everyone involved has spent their whole life learning how to sustain a single note without blinking.