Origin : Norway
Genre : Symphonic / Melodic Black Metal
Release : 2003
Album Info / Review
**Old Man’s Child – *In Defiance of Existence***
*A 2004 metal affair that hovers between fierce black‑metal brutality and sweeping melodic ambition.*
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### Sound & Sonic Texture
From the opening blister of “The Sunless Dawn” the album sets a clear tonal swing. The guitars exit in dense, swirling tremolo passages that slide gently into contrasting, soaring leads. There’s a raw aggression in the vocal delivery – harsh, razor‑sharp screams that cut through instead of merely mimic the, oft‑uncomfortably, “growl” style found in many contemporaries. The 2004 production gives the doom‑laden bass a significant presence; it’s no longer a murky backdrop but a gritty undercurrent that reinforces the track’s anthemic percussion.
Underneath the storm, you find moments of restrained introspection. Tracks like “Refugee’s Lament” drop the pace, unfolding through clean guitar arpeggios that feel like a brief respite before the next avalanche of noise. These interludes add a haunting lyrical quality to what would otherwise be a relentless barrage.
### Atmosphere
The atmosphere is unmistakably bleak yet disciplined. The choir textures—very little front‑end choir but sporadic, low‑lying choral pads—float above the front of the car‑rolling riffs, creating a sense of cavernous darkness that’s paired with occasional bright synth flourishes. Together, they conjure a cinematic sense of a ruined landscape, a bleak sunrise theme that pervades the entire set.
There’s an almost cinematic horizon, a continent that feels both vast and claustrophobic. The juxtaposition of grandiose choruses and crushing licks gives the album a “fighting the void” feel that is both emotionally taxing and cathartic.
### Riffs & Instrumentation
Rhythm sections clasp the music together with relentless tempo variations. On “Branded with the Sun,” the kick hits hard, while the snare snaps with a staccato precision, giving the piece an almost militaristic feel. The double‑bass runs are purposeful, not just a black‑metal gimmick; they drive the songs forward.
Lead guitar work is the focal point. Several riff candidates feel memorable: “Serpent’s Maw” showcases a razor‑sharp, fast dissecting tremolo line that soon doubles into a melodic, head‑nod‑worthy hook that fans of the band will recognize from earlier demos. “Odyssey of Pain” utilizes a gradual, chorale-like lead that escalates into a sheer sonic wave.
Drums are both powerful and sonicly present. The mid‑range break on “Crawling into Brokenness” produces a nice crack, and the cymbal crashes feel alarmingly large for a studio recording that year. The bass sits in the chorus with a slightly distorted tone that adds weight without overpowering the guitars.
### Production Quality
The 2004 production gates the metal ballgame into a cleaner, more mature sonic output. The mixture feels balanced: no elements, such as guitars or vocals, overtake each other; each layer has its own distinct spot. The 808 bass that historically plagued some of Old Man’s Child’s demos is now slenderly clean and provides a grounding layer. The vocals have a tight, center‑panned presence, making the harsh screams more immediate and palpable.
With all these elements, sound walls, and hard-driving rhythm, the mix leans heavily on the North‑European black‑metal crunch but with a professional polish. A notable aspect is a slight “air” reserved for the higher frequencies, allowing that gothic choir to slip in and elevate the dissonant chords.
### Overall Impression
*In Defiance of Existence* finishes strongly with a larger-than-life sense of texture and sight. Through stripped‑down riffs and a methodical yet balanced production, the album acts as a self‑sufficient case study in how heavy, dark metal can find its place in a more meticulous soundscape and offer a better journey through its sonic terrain. While it’s not the most experimental work of the band, its big‑picture vision, all‑in‑all. It proves that if a record’s tracks look as tough as a full‑threatened steak, the album overall is essentially a weighty, massive, strategically crafted industrial‑metal butler.
