Register Forgot login?

© 2002-2019
Encyclopaedia Metallum

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

Privacy Policy

Galder's Best Work. Ever. - 98%

TheStormIRide, April 27th, 2012

Let's start off this review by stating that this is by far my favorite release by Old Man's Child. Galder definitely forged something that had not yet been heard prior to this release. Hell, I can not for the life of me think of another band that pulled off this style with the same power, ferocity and musicianship. Not even the mighty OMC has touched the sheer awesomeness oozing from this album. Now that my fanboy-ish rant is over, I'll get down to business and tell you why I think this album is a landmark that yet to be touched in the blackened realms of metal.

Production wise this album is pretty clear. There aren't any moments where you think, “Was this recorded in a trashcan or his parent's bathroom?” All the instruments have the correct place in the mix. You can even hear the bass through the entire album: utterly remarkable for anything remotely associated with black metal from the time period (pretty much the golden age of the second wave, in my opinion).

My favorite thing about this album is the guitar lines. Some people bitch and whine saying that good old Sir Gruesome sold out and went all groovy on this album. Bull shizzle, my friends. That is just not the case. Yes there are some parts that make you want to bang your head and check your metal health, bu this is defintately not groove metal. Just listen to the awesome lines on “Soul Possessed” and “My Demonic Figures”. It's not the blazing trem picked speed of “Nattens Madrigal” or the raw, crusty tone of Darkthrone. It's actually rather hard for me to describe the guitar sound on this album. It's like a mix of black metal and power metal. Very classically inspired guitar lines that have all the distortion a metal head wants and needs. The riffs tread the line between power, thrash and black metal without sounding like they were haphazardly thrown together.

I think something that throws people off with album is the :gasp: solos. I know it's not uber-kvlt to have guitar solos in your black metal. Galder throws the black metal standards out the window. Listen the solo on “Millennium King”. If you place that solo onto any power metal band's album, it would probably be the best solo on the album. One of my favorite guitar solos of all time. And also that killer solo on "What Malice Embrace". It's kind of funny that the solos fit so well because barely any black metal bands play solos, and no one else plays good solos in black metal. There are quite a few solos on this album and only one feels slightly out of place: “Behind the Mask”. Granted, I love this song and the solo is good, but it doesn't really match the song tempo. And that weird ass diving part that sounds like a duck farting at the beginning of “My Demonic Figures” is a little strange, but it only lasts a second or two.

The drums are killer on this album. Galder kicked out Tjodalv for the next release, and fifteen years later I still can't figure out why. Tjodalv plays some really interesting lines. There's a good bit of double bass but there's also a lot of catchy, make you tap you feet moments. The drums fit in perfectly with the guitar lines. There's never a moment where the any instrument wanders off on its own. That's probably because Galder wrote everything: synths, guitars, vocals, drums, you name it. Any other person associated with this album is basically just doing what he tells them to. The keys and bass aren't anything super special. Just keys and bass accentuating the guitars and drums. The bass isn't follow the leader, as there are some interesting fills, but, unless you're a bass player, you don't care.

The vocals are awesome here. I really feel like Galder's vocals started to deteriorate on some of the later albums (read “Revelation 6:66” on). Scathing, seething and any other word you can use to describe a pissed off bald guy with a mustache singing about Satan. The vocals here are more black metal inspired than the deathy growls and grunts of Galder's later work. There are some deeper sections, but for the most part Galder sticks to a pretty traditional approach with his vocals. The only main difference between Galder's vocals and the vocals of his contemporaries is that you can actually understand what the hell he is screaming about. Sir Gruesome live up to his name with his clean vocals, as they are my least favorite part of this album. He definitely should have stuck with his normal delivery. Yeah, maybe the music sounds a bit more epic when he does it, but he sounds very uncomfortable singing that way, and you can tell.

I just can't see how any fan of metal music can say this is a bad album. There just seems to be something for everyone here. The excellent musicianship, the awesome guitar lines. Aside from a few minor qualms, this is just an utter beast of an album. Fifteen years after it's release and it still receives constant rotation in my collection. I'd probably be lying if I said that I haven't listened to this album at least once a month for the past ten years. There are only a few albums that have ever had that type of lasting power.

Recommended to fans of black metal looking for quality production and excellent musicianship, power metal fans looking to get into some heavier music or just fans of metal in general. Actually, I recommend that every person listen to this album. Make your mothers, wives and in-laws listen to this album. This is Galder's finest hour and one of the finest hours in all of metal's history.

Minus two points for duck farts and an out of tempo solo. Otherwise a perfectly perfected masterpiece. Buy this now.