Old Man’s Child – Vermin - Album Streaming & Download

Origin : Norway

Genre : Symphonic / Melodic Black Metal

Release : 2005

Album Info / Review

Intro:
The Norwegian black metal scene has long been a fertile ground for the macabre and the technically proficient, and from its fertile soil sprung Old Man’s Child, the brainchild of multi-instrumentalist Galder. “Vermín,” released in 2003, arrived during a period when the band was solidifying its signature sound: a potent blend of relentless aggression, intricate melodicism, and a theatrical, almost gothic, sensibility. This album eschews the raw, primal fury of some of its predecessors for a more refined, yet no less potent, execution. It’s an offering that demands attention, not through sheer sonic brutality alone, but through its meticulous construction and the palpable sense of dark grandeur it evokes. “Vermín” isn’t just a collection of songs; it’s a meticulously crafted descent into a realm of shadows and serpentine melodies.

Track Analysis:
“Fear the Old Man” immediately assaults the listener with a blast beat torrent and a razor-sharp tremolo riff that feels both familiar and invigorating. The vocal delivery, a guttural rasp, is laced with a distinct theatricality, each syllable dripping with malevolence. The song’s structure is dynamic, shifting between blistering speed and moments of atmospheric dread, underscored by subtle, almost haunting, keyboard embellishments that add a layer of depth without ever becoming overbearing.

“The Goat” picks up the tempo, featuring a more pronounced melodic sensibility in its guitar work. The lead melodies are intricate, weaving complex patterns over a driving rhythm section. The drumming is precise, with fills that are both technically impressive and serve the song’s overall momentum. There’s a palpable sense of urgency here, a feeling of being pursued through a darkened forest.

“In the Blazing Fires of the Seventh Moon” is a more epic track, showcasing Galder’s compositional prowess. It builds gradually, with a powerful, anthemic chorus that is both memorable and chilling. The interplay between the aggressive verses and the more expansive, almost operatic, chorus creates a captivating dichotomy. The solos are technically dazzling, yet always subservient to the song’s emotional arc, delivering piercing, melancholic cries.

“Rage and the Sin” is a more straightforward, aggressive assault. The riffs are heavier, the drumming more pounding, and the vocal performance even more venomous. Yet, even in its rawest moments, there’s an underlying melodic structure that prevents it from becoming monotonous. The bridge section offers a brief respite, a more introspective passage before launching back into the maelstrom.

“The Flame of the Nine” leans into a more gothic atmosphere. The keyboards are more prominent here, creating a sense of spectral grandeur. The guitar riffs are still sharp and aggressive, but they are complemented by a more somber melodic undercurrent. The vocal delivery shifts, incorporating a deeper, more resonant tone at times, adding to the track’s dark theatricality.

“Antemortal” is a shorter, more focused track, a concentrated burst of aggression. It’s a relentless barrage of blast beats and sharp, angular riffs, serving as a potent reminder of the band’s inherent ferocity. The solos are brief but impactful, like flashes of lightning in a storm.

“The Soul of the Serpent” is a masterclass in melodic black metal. The central riff is incredibly catchy and infectious, yet retains its sinister edge. The song ebbs and flows, with moments of breathtaking melodic beauty juxtaposed against bursts of raw aggression. The vocal performance is particularly strong, conveying a sense of ancient, malevolent power.

“The Return of the Serpent” continues the thematic thread, offering a more atmospheric and brooding exploration. The tempo slows, allowing the darker melodies to breathe and the intricate guitar work to truly shine. The keyboard textures are expertly woven into the fabric of the song, creating a sense of vast, desolate landscapes.

“The Serpent’s Embrace” concludes the album on a high note. It’s a powerful, epic track that encapsulates the album’s strengths. The riffs are driving and memorable, the drumming is dynamic and precise, and the vocals are as menacing as ever. The song builds to a climactic crescendo, leaving the listener with a lasting impression of dark, intricate artistry.

Conclusion:
“Vermín” stands as a testament to Galder’s evolving songwriting abilities. It’s an album that successfully balances raw aggression with sophisticated melodicism and theatrical flair. The production is clean and powerful, allowing each instrument to breathe and contribute to the overall sonic tapestry. While it may not possess the unbridled chaos of some earlier black metal efforts, its meticulous craftsmanship and dark grandeur make it a compelling and enduring listen. It’s an album that rewards repeated listens, revealing new layers of complexity and darkness with each immersion. Old Man’s Child, on “Vermín,” proves themselves to be masters of their craft, weaving tales of darkness with precision and passion.