Old Man's Child
In Defiance of Existence
posted on 3/2003
Galder and company return, offering up the latest Old Man’s Child album entitled In Defiance of Existence. Now the verdict is not quite in yet if this album was done as a labor of love or a contractual obligation, because as far as emotion, intensity and blood sweat and tears are concerned, I’m not quite sure if I have found any within. I wanted to toss this disk in and enjoy some certified metal fortitude, but again the music that I know this line-up is capable of generating seemed ultimately common and severely rushed this time round. Generic is the word that keeps entering my mind, because OMC just doesn’t have the impact on this outing that past endeavors have relinquished. Obviously the Dimmu comparisons are going to transpire, because with two-thirds of OMC presently entertaining Dimmu with their presence how can they not? Although at times I was goddamn certain I was listening to a B-side Dimmu song here and there, there are mighty riffs of chunk and thunder scattered throughout and Barker brings the pain, but the overbearing keyboard notes dodging to and fro simply annoyed the piss out of me, which in turn consistently brought Dimmu to mind as far as sound was concerned. Hey Galder! Here’s a fucking suggestion, drop the keyboards from OMC and you may just have a project that will set itself aside from Dimmu, or fuck even program the damn thing with a different tone than Dimmu uses. Sheesh!
Now I don’t want to completely scare you away from this album, but this is definitely a situation of just how much fucking money you have in your pocket when you’re visiting your very own dungeon of metal. If you’re the over the top Dimmu fan, then there’s not even a question as to if you should own this one, or if you’re a fan of the keyboard laden black metal-esque assault, then this is your must have disk too, but if your horizons are set on metal with some originality and most importantly staying power, then OMC’s new one is out of the question. I will say that within each song I did find moments of crush and even precision, but ultimately nothing radiated that killer impact of boom that makes you say out loud, “Fuck yeah, now that was brilliant!”. I also don’t think the question of musicianship is at fault either, but altogether OMC’s IDOE is nothing more than standard metal that has been done before and unfortunately will be done again. I’m not quite sure if OMC completely fits the bill as a full-on side project, but if this is their last record with Century, then without a doubt it is time to lay the fucker to rest and leave it up to Dimmu to carry the torch a tad further with this sound.
Bottom Line: IDOE is solid metal but nothing out of the ordinary or deserving of your immediate attention. Pick it up when the recent essentials have already been purchased, because without a doubt the evil Galder trio is working an angle here that basically has no corners left. Personally, I found this album nothing more than ordinary at best.
Old Man's Child
Slaves Of The World
Old Man's Child