Old Man's Child

The Pagan Prosperity

1997 Century Media

Review by Pasi Nuutilainen

Old Man's Child are conventionally thought of as a black metal band, but with The Pagan Prosperity they push the envelope of this now well trodden, and generally re-hashed, genre. The shrieking vocals are retained, as well as some guitar and keyboard arrangements, but they tread new ground by combining their blackened past with lots of old school influences from thrash and straight-on, balls-to-the-wall metal of yesteryear. Most songs sacrifice all-out speed in favour of well arranged, complex songs and good musicianship (which in this case is a good thing), while still coming out brutally aggressive.

The first three songs on the CD most obviously show the classic metal influences on this album. "The Millennium King", the first song on the album, and quite possibly one of the best, combines haunting keyboard work with solid guitar riffing to create a wickedly evil song. A good use of odd time signatures, and combinations of fast and slow segments make for excellent arrangement on a very NWOBHM-influenced song. The bridge features haunting keyboard work blending into half-time feel choral chanting that then gives way to a melodic, classic metal inspired solo, complete with twin guitar harmonizing. "Behind the Mask" and "Soul Possessed" (another excellent song) continue the old school influence with speed / thrash riffing and drum work throughout, and combined with the shrieking vocals, gives these songs potent aggressiveness and attitude.

The second half of the CD contains songs more typically black metal styled, yet they retain an inventiveness that make virtually every song stand out. Keyboard work becomes slightly more prominent to give an epic quality to songs such as "My Demonic Figures" and "My Kingdom Will Come". Most songs are mid-paced, but the use of fast segments interspersed with slower interludes keep the songs interesting. A dark, doom-and-gloom feel is evident on most of the tracks that makes for a foreboding and intense quality. The influence of earlier (i.e. Thousand Lakes-era) Amorphis can also be heard on some of the guitar and keyboard work.

Growling death vocals are used on songs like the aptly-named "Doommaker" and "Behind the Mask", and are especially effective on "Return of the Night Creatures", where they are sung in unison with the shrieking style vocals to make for a very evil and intense combination.

The final song, "What Malice Embrace", is a fitting ending to the CD. A gloomy, melodic intro gives way to a speedier riff and an intense feel that is retained through the heart of the song. An emotional, bittersweet song (especially in the excellent guitar solo), yet retaining the intense feel of the earlier songs, "malice" rounds out the album very well.

Musicianship is high grade throughout. Melodies, harmonies (from a black metal band?!), and strong riffing interweave to create an intense, intricate, and satisfying work. Rhythm and timing changes within songs keep the listener interested, while not becoming overly confusing and convoluted. For the most part the songs remain mid-paced, so people looking for speed, beware: this may not be an album for you. But it is hardly missed,what with the overall excellent quality (not to mention aggressiveness) of the songs. My only criticism would be the slightly restrained feel of the guitar work on some of the songs. It sounded as though technicality sometimes got in the way of all-out aggression. However this may be due in part to the guitar tone; a brighter-toned guitar (or a slightly different mix at production time) may have brought out a more raw feel. Nevertheless, this is a minor criticism, and "The Pagan Prosperity" is overall an excellent album and definitely worth checking out.

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