Slaves of the World

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Band Name Old Man's Child
Album Name Slaves of the World
Type Album
Erscheinungsdatum 19 Mai 2009
Labels Century Media
Produced by Fredrik Nordström
Musik GenreSymphonic Black
Mitglieder die dieses Album besitzen127

Tracklist

1. Slaves of the World 04:41
2. Saviours of Doom 04:03
3. The Crimson Meadows 04:34
4. Unholy Foreign Crusade 03:39
5. Path of Destruction 05:21
6. The Spawn of Lost Creation 04:07
7. On the Devil's Throne 04:49
8. Ferden Mot Fienden's Land 05:33
9. Servants of Satan's Monastery 05:18
Bonustrack
10. Born of the Flickering 04:47
Total playing time 46:52

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Old Man's Child



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Review @ Vinrock666

21 Juli 2010
Old Man’s Child, Galder's side/solo project, has really come up big on the creative end with their 2009 LP release “Slaves of the World”. Under a template of contemporary black metal, the beauty of this album comes from Galder’s daring insistence on including a myriad of other metal styles to further embellish compositional themes already well pronounced and musically defined. On another dimension, the variants within each song isn’t just limited to style, but also includes speed, cadence, and instrumentation.

As much as Galder’s musical abilities have most undoubtedly shone on this album, a very special mention should be given to the only other musician to have been included on this work - drummer Peter Wildoer. Under Galder’s direction, Wildoer provides much more than the glue that keeps each track musically together - his willingness to dive into less traditionally black metal beats and cadences as well has ended up not only enhancing the creative results of a number of tracks but also serves as a highlighting showcase of his own talents as well (“Saviors of Doom”, “The Crimson Meadows”, and “On The Devil’s Throne”). Other tracks of note from a drumming perspective include his use of snare (“Path Of Destruction”) and limited use of double bass blast beats (“Slaves of the World”) when it would be so easy to do otherwise.

Galder is the man, however. As writer, singer, and guitar/bass player, the most complimentary statement that can be attributed to him is that none of his tracks or lines suffer in relation to each other. The bass is well grounded (“Saviors of Doom” for example), the vocals are intentionally emphasized for sound rather than lyrical clarity, and all of his guitar outputs are well heard and delivered, including from his lead work his solos (“Unholy Foreign Crusade” and “On The Devil’s Throne”) fills (“Unholy Foreign Crusade”) and wails (“Ferden Mot Fiendens Land”).

As for the rhythm - this is the greatest aspect of the record. Speeds vary from slow to fast, sometimes within the songs themselves. Of course, within those songs there some very nice time signature changes (including possible best song “On The Devil’s Throne”) to be heard. As for the overall style, the range goes from classic black (“Ferden Mot Fiendens Land”) to contemporary black (“The crimson Meadows”) to a healthy dose of thrash riffs peppered throughout the entire project (“Saviours of Doom”, “Unholy Foreign Crusade” and the moshing rhythm line underneath the solo on “”On The Devil’s Throne”).

For Galder and Old Man’s Child, 2009‘s “Slaves of the World” succeeds more than producing something simply different, but entirely better. It is a very pleasing record to the metal ear.

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Crinn - 14 Juli 2012: How can this be a side/solo project if Galder has been in Old Man's Child since they first started in the mid 1990s and he didn't join Dimmu Borgir until 2001? Get your facts straight man
Vinrock666 - 09 Januar 2017: I stand by my definition. Here's why: First, Galder's primary band is Dimmu Borgir. His involvement with Old Man's Child as it stands in 2009 is secondary. That makes this album a side project. Secondly, Galder is also the only permanent member of Old Man's Child. The only reason the brand is attached to this album is to extract any remaining value it may have reserved. That's why I called it a solo project. Finally, bands by definition play and again as of 2009 there is no touring lineup. I understand the history of the brand but as it stands now, Old Man's Child is not actually a band. That's why I called this album a project. When reviewing I find it important to regard and analyze the work in it's current state for clarity's sake. Happy listening!
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