When this precious sonic document, a live recording that Pan Sonic - the obscure creature by Ilpo VÄisÄnen and Mika Vainio - made on the occasion of Kvitnu Live Concert on 6th June 2009 in Kiev, Ukraine, was firstly released by Kvitnu in 2014, Pan Sonic didn't exist anymore. Now that Kvitnu decided to push a second edition (300 copies only), many of you sadly know that Mika Vainio doesn't exist in his physical form at least, but the sound that those Finnish guys forged on that live session and nestled in this "Oksastus" keeps its fit to times. When it was firstly released, many reviewers heard some connection to the tickling bomb for world peace related to Euromaidan, the wave of demonstrations that started in Indipendence Square in Kyev in the night of 21st November 2013 to protest against the suspension of the association agreement with European Union. During our days, someone can certainly listen some echoes of the current and forthcoming limitations of civil rights and freedom related to... guess what? That virus. Both situations can somehow fit to the sound or vice versa. 'Oksastus' is the Finnish (and Estonean as well) word for 'grasp' and some details of both stories (Covid and Euromaidan) can conceptually be considered as grasps in the contemporary history. A grasp of an element in a common ground that totally disrupts the pre-existing order (or maybe it's aimed to strengthen it), even if the awesome grasps by those Finnish sound nihilists in the eight tracks (titled after their length, as there's no apparent matching with previously released output or simply melt sounds belonging to soundbanks they adopted for some of them) often sound like the inoculation of artificial cells into a dead matter, but I wouldn't say "Oksastus" is a sort of necrophile game, even if that's what you can feel particularly in the first three tracks. In the eleven minutes and three seconds of the fourth, the sonic entity, which they forged through chaotic dusts of dissonances, electronic regurgitations, convulsive synth lo-hats and atrocious cuts on volume, smells like a sort of mechanical flesh before their creators began to dig a hole to bury it and potentially your eardrums in the second half of the track. The clipped bleeps over super dried thus of the fifth movement (5'42") could have brought the audience of that live session to a higher level, even if those sound masters had fun in let their entities move into what sound like an anechoic room. The heaviest sonic assault comes on the following 17'28", a wonderful track that initially envelops listener's nerves into tighter and tighter electronic knots, hits them by a flurry of percussive muffled punches getting more and more cacophonous and sweltering and finally melts into magmatic sonic pools. Against such a stage, the fury of the last two movements is almost reassuring like the hug of a mother. Grab it, if you missed this little masterpiece.