Old Man’s Child – In Defiance of Existence

Origin : Norway

Genre : Symphonic / Melodic Black Metal

Release : 2003

Album Info / Review

Intro:
The stench of sulfur and the gnawing dread of the abyss are palpable on Old Man’s Child’s 2003 offering, *In Defiance of Existence*. Emerging from the shadows of the Norwegian black metal scene, the brainchild of multi-instrumentalist Galder, this album stands as a testament to a particular brand of symphonic black metal that, while not entirely novel, is executed with a relentless, almost theatrical ferocity. It’s a journey through desolate landscapes, punctuated by the screech of tortured souls and the majestic, albeit macabre, sweep of synthesized orchestrations. This is not music for the faint of heart; it’s a meticulously crafted descent into a sonic hellscape, where melody and malevolence intertwine with chilling precision.

Track Analysis:
“The Antichrist” kicks off the album with a blast of blast beats and a dissonant, chainsaw-like guitar riff. The tempo is punishing, but the introduction of a regal, almost baroque synth melody layered over the chaos creates an immediate sense of dramatic tension. Galder’s vocals are a guttural roar, laced with a venomous hiss that perfectly complements the lyrical themes of blasphemy and defiance.

“In Defiance of Existence” itself is a more mid-paced affair, allowing the intricate guitar work to breathe. The riffs are sharp and angular, avoiding simple tremolo picking in favor of more structured, almost technical passages. The symphonic elements are more subdued here, acting as atmospheric embellishments rather than overt melodic drivers, adding a creeping sense of unease.

“Felonies of the Christian Art” unleashes a torrent of aggression. The drumming is a relentless barrage, with double bass pedal work that sounds like a stampede of demonic hooves. The guitar solos are chaotic and dissonant, eschewing technicality for raw, unhinged expression. The synth interludes, when they appear, are brief but impactful, like fleeting glimpses of divine judgment.

“War of the Souls” injects a more melodic sensibility, though the melody is steeped in melancholy and despair. The chorus is surprisingly anthemic, a call to arms for the damned. The interplay between the driving rhythm section and the soaring, albeit dark, synth lines is a highlight, showcasing Galder’s ability to balance brutality with a sense of epic scope.

“The Grand Design of Hell” is a sprawling, multi-faceted track. It shifts through various tempos and moods, from blistering black metal assaults to more brooding, atmospheric passages. The orchestral arrangements here are particularly rich, conjuring images of infernal cathedrals and legions of fallen angels. The guitar solos are a masterclass in controlled chaos, weaving intricate patterns through the sonic tapestry.

“On the Mount of Crucifixion” is a slower, more deliberate track, driven by a heavy, almost doom-laden riff. The vocals are more spoken-word in sections, adding a narrative quality to the proceedings. The symphonic elements are employed to create a sense of immense, suffocating weight, as if bearing the burden of all sins.

“The Burning Shame” returns to a more aggressive stance, with rapid-fire riffing and a relentless pace. The synth melodies are more overtly sinister, adding a carnival of the damned feel to the track. The vocal delivery is particularly venomous, spitting out lyrics with palpable hatred.

“The Apocalypse” is the grand finale, living up to its name. It’s an epic conclusion, blending blistering black metal with sweeping symphonic passages. The track builds to a colossal crescendo, with layered vocals and a wall of sound that is both overwhelming and exhilarating. The final moments fade out with a sense of unresolved dread, leaving the listener drained but strangely satisfied.

Conclusion:
*In Defiance of Existence* is a potent distillation of symphonic black metal’s darker, more aggressive tendencies. Old Man’s Child, under Galder’s singular vision, crafts an album that is both technically proficient and emotionally resonant. The production is sharp and clear, allowing each element to cut through the mix without sacrificing the overall atmosphere of grim grandeur. While the symphonic elements could, in lesser hands, become saccharine or overbearing, here they are integral to the album’s thematic core, amplifying the sense of epic conflict and infernal majesty. It’s an album that demands repeat listens to fully absorb its intricate layers and relentless sonic assault.