Old Man’s Child – Born of the Flickering

Origin : Norway

Genre : Symphonic / Melodic Black Metal

Release : 1996

Album Info / Review

Intro:
The Norwegian black metal scene, a crucible of frostbitten innovation and raw sonic aggression, has long been a fertile ground for bands pushing the boundaries of extremity. While Mayhem and Emperor often command the lion’s share of historical reverence, the often-overlooked Old Man’s Child, helmed by the prolific multi-instrumentalist Galder, carved a distinct niche with their early output. “Born of the Flickering,” their 1997 debut, stands as a testament to this, a meticulously crafted, albeit somewhat raw, declaration of intent that married technical prowess with an undeniable melodic sensibility, all steeped in a dark, almost gothic atmosphere. This is not the purely chaotic blast-beat onslaught of some contemporaries, but rather a more nuanced, almost symphonic black metal precursor, hinting at the grandeur and complexity that would come to define Galder’s later work with Dimmu Borgir. The production, while undeniably lo-fi by modern standards, possesses a potent clarity that allows each instrument its space to breathe, contributing to the album’s overall immersive quality.

Track Analysis:
“A Gathering of Spirits” immediately sets a somber, almost mournful tone with its clean, arpeggiated guitar intro, reminiscent of early Opeth’s atmospheric leanings. This brief moment of respite is shattered by a ferocious blast beat and Galder’s signature guttural snarls, launching into a relentless barrage of tremolo-picked riffs. The song’s structure is surprisingly dynamic, incorporating melodic lead guitar passages that weave through the aggression, creating a sense of melancholic grandeur.

“The Old Man’s Child” introduces a more mid-paced, almost doom-laden feel in its opening section. The drumming is precise, emphasizing impactful snare hits and driving double bass. The guitar work here is particularly noteworthy, showcasing intricate riffing that avoids cliché, with a palpable sense of darkness emanating from the distorted tones. A brief, almost operatic clean vocal interlude adds an unexpected layer of depth before the song re-erupts with renewed ferocity.

“In the Sign of the Dragon” leans heavily into a more traditional black metal framework, but with a distinct melodic underpinning. The riffs are sharp and biting, propelled by a relentless drum assault. The solos are not mere shredding exercises but are carefully composed melodic lines that enhance the song’s dark narrative. The interplay between the lead and rhythm guitars is a consistent strength throughout the album.

“Born of the Flickering” itself, the title track, is a sprawling epic. It begins with a chilling, almost spoken-word intro that builds tension before exploding into a whirlwind of blast beats and intricate riffing. The song’s length allows for significant exploration of musical ideas, with moments of brooding atmosphere punctuated by furious bursts of aggression. The keyboard elements, subtle yet present, add a symphonic texture without overpowering the raw black metal core.

“The Dream of the Black Swan” offers a slightly more accessible, yet no less intense, experience. The riffing is more hook-laden, and the vocal delivery, while still harsh, possesses a certain clarity. The track showcases Galder’s ability to craft memorable melodies within the black metal context, a skill that would become increasingly prominent in his career.

“On the Edge of the World” returns to a more overtly aggressive stance. The drumming is particularly ferocious here, with rapid-fire double bass and complex cymbal work. The guitars deliver a relentless torrent of tremolo picking, yet the underlying melodic sensibility prevents it from becoming monotonous. The track’s intensity is maintained throughout its duration.

“When the Sun Dies” features a more pronounced atmospheric quality. The clean guitar passages are more prominent, creating a sense of desolation and despair. When the distortion kicks in, it’s with a powerful, almost overwhelming force. The song’s ebb and flow between clean and distorted sections is masterfully executed, building to a climactic, albeit bleak, conclusion.

“The Shadow of the Moon” closes the album with a sense of finality. It’s a powerful track that encapsulates the album’s sonic palette, blending aggression, melody, and atmosphere. The final notes fade out, leaving the listener with a lingering sense of darkness and introspection.

Conclusion:
“Born of the Flickering” is a foundational work in Old Man’s Child’s discography and a significant contribution to the melodic black metal landscape of the late 90s. It’s an album that rewards repeated listens, revealing layers of intricate musicianship and atmospheric depth with each immersion. While its raw production might deter some, it ultimately serves to enhance the album’s untamed aggression and dark allure. Galder’s vision is clear and unapologetically executed, demonstrating a sophisticated understanding of musical dynamics and an innate talent for crafting compelling, albeit grim, soundscapes. This is more than just a black metal album; it’s an artistic statement that foreshadowed the symphonic grandeur that would later define its creator.