2007: Dana Sol is fronting Viir Exeter's Electro project, Biomechanic, fusing Electro, Jazz and Dark Cabaret. The debut album, Exogenesis, is currently in production. 2004/5: Viir Exeter, of Oxygen Law, has composed the original score for The Boles Murders, a major motion picture about an entire family that was brutally murdered in their exclusive California resort home in 1965. Private Investigator, Steve Hodel, New York Times best-selling author of, The Black Dahlia Avenger, is among the many who give expert insights into the notorious murders. The case remains unsolved to this day. Oxygen Law Le Vestibule EP reviewed by Matthew Heilman of Starvox, Philadelphia Hailing from California, Oxygen Law's most recent EP was an interesting offering to say the very least. I was pleasantly won over by the nostalgic shades of vintage 4AD elements that could be found in the grayed synths and modest electronics of the first half of this EP. The title tracks are pretty cool, the LP version of the song being a bit more punchy than the extended version, but both feature a delightful mix of slow old school drum machines and swirling orchestration. 'Perihelion' is perhaps a better and more solid example of what Oxygen Law is capable of. A plodding, tense track that centers around a steady rhythmic pulse, a smooth bass line, and moody male vocals. This track in particular vaguely recalls early Clan Of Xymox, and it is kind of cool that a band is more conscious of atmosphere than BPM's, the way early dark electronic bands were. And indeed, Oxygen Law is conscious of atmosphere. Citing not only 4AD artists as creative influences, they also site the Brontë sisters and Edgar Allan Poe as musical muses, and indeed the misty moors and stark psychology of those authors cast a favourable shadow over the band. Somewhat in the more 'electronic' friendly tracks but this influence is clearer on the EP's two epic instrumental tracks. There is an authentic classical darkness that pervades these last two works, the two unlikely candidates I suppose to receive the fond critical attention. Truthfully, these last two tracks were the ones that struck me the most and I feel earns the band some serious investigation. 'Intermezzo' is a piece comprised entirely of stark, reverberated piano, with shadows of Chopin and Rachmaninoff, but primarily Franz Liszt. The song shares a similar desolate spirit with the Hungarian pianist's 'Totentanz' and 'Transcendental Etudes.' The grand symphonic track 'Lamentations In A Churchyard ' serves as a perfectly suitable finale. Despite being composed and performed with a synthesizer, there is an overwhelmingly authentic air in the effect of this music; it is very dark, very dreary and not so much resembling a cinematic film score as an honest orchestral classical piece. Of course, there are bits of electronics that sneak in to the mix, some ambient storm effects, and a brief section of reverberated vocals, but it is still quite symphonic at heart. I very much enjoyed what Oxygen Law has to offer, and though I liked their 'gothic dance' offerings, I was moved more significantly by their 'classical gothic' offerings at the end of this disc. I sincerely hope that the band continues to explore both sides of their talent, and perhaps find a way to better bring them together. If it becomes impossible to integrate them, I would suggest these guys start commissioning to do film scores or work with an actual orchestra if it were possible. While the compositions on this CD are admittedly still amateurish when compared to professional concert music performers (i.e. modern day classical composers), Oxygen Law is miles ahead of where other bands claiming to be 'neo-classical' currently linger. There is some significant potential here, which I think can develop into something that could transcend the trappings of the Gothic genre. Contact these guys and keep an eye out for the upcoming full-length release 'Aperture.' Track List: 1.) Le Vestibule (extended) 2.) Perihelion 3.) Le Vestibule (LP) 4.) Intermezzo 5.) Lamentations In A Churchyard For Currer, Ellis, and Acton Bell Oxygen Law is: Viir Exeter: synths, grand piano, linndrum, vocals and vocoder Alex Senicki: acoustic violin John Davis: electric guitar EJ Emmons: production, recording, mixing, mastering Reviewed by Damage of LD-50, Hungary Arbeit EP/Le Vestibule EP: Arbeit EP CD: A still, frozen infinity. Golden haze covering abandoned railways. Rails lead to infinity's nowhereness, switches click emptily, current collectors are the sole luxury of the place. On the right, a figure, a railwayman, you can't quite decide whether he's coming or going. He could do any of them, though he's stuck with the movement, neatly, as it fits the art photograph. This is a picture which fits Oxygen Law's first material. 35 minutes, 4 tracks, melodic dark-ambient, epic soundtrack about walks of war victims, mud and clay, about a cruel and cold blend which sees everything in a way that should not be, sharpness has never hurt more. Noises, wonderful layers, glockenspiel, violins at places. That's the EP, worth 9 points out of ten as there is no 10-point stuff as we know it. Le Vestibule EP CD v3: Le Vestibule EP awakens old school 4AD feelings, strong is the parallel with the atmosphere of the Xymox in the three tracks with percussive tracks and Viir's voice. Slower, pulsating tracks which are fit for making love, crashing cars or playing them during torrents - strange it might be but there is much more energy in the instrumental tracks. I would definitely point out Track 4 (Shuttered Room) which is very much like a Die Form - Ukiyo-e cooperation with it's sick cradled Japanese syllables. As for the slowly flowing tracks - they're more structured than the lot of today's dark-ambient material, more diversity, perfect timing of slowness - this is what I see the real strength of Oxygen Law in - in the obscure, dark fairytales.