Register Forgot login?

© 2002-2019
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

Onwards, but not enough - 49%

PazuzuZlave, October 2nd, 2005

Old Man’s Child has been known to me for a long time now. This band started out with an EP and a debut album that I had issues with. I didn’t enjoy the sound nor the material on those. Then came The Pagan Prosperity and something changed. Much more accessible than their previous material, easier to listen to and in many ways different. The sound has gotten better here. Better, though, does not always translate to good, but to “passable”. The overall production is quite horrible to be honest. There’s no power behind the otherwise quite well composed music. The drums fall quite flat behind the weak-sounding guitars and the vocals. And the bass is a true mystery here. Yes, you can hear it very well, but it still doesn’t sound like a bass. It sounds more keyboard-composed. The vocals are also “better” here, but it would take one more album for Galder to master the vocal abilities as well. Ultimately, you can say this production is shit!

The material offered here is categorized into good and bad. This means there’s no such thing as “the chorus in track nr. 3 is good, but I don’t like the verse”. There are several good songs here. Still, I can’t get beyond the fact that they chose “The Millennium King” as the opener. It’s a good track, but doesn’t fit as the big eye-catcher openers should be. The problems here in lies in the fact that they’ve mis-used the melodic parts in that song. In almost every song (My Kingdom Will Come counted out), they’ve somehow managed to create wonderful melodies. This is what really drives the album forward without you having to skip any songs. The sad thing is that this is outweighed by an almost as strong down-side. The melodic parts grab you, but as the monotone “only-riffing”-parts enter, you lose interest as they JUST DON’T WORK! This is very sad, when you think about the potential this album really had. Another problem that’s quite devastating is that after a few times you’ve heard this album, it just becomes a big mush. This relates much to the problem with the parts between the melodies. It doesn’t work in the long run.

Whereas this could have been a mighty album, it falls flat before other contenders in the same genre. There are good tracks here, that would’ve better worked as stand-alones than on this album. “Behind the Mask” and “What Malice Embrace” are examples of well constructed songs which you can listen to even five years after its release. You should skip past this album though’, and instead become acquainted with “Ill-natured spiritual invasion”, where they use the same logic, but realise it in a better way.