When we talk about Norwegian black metal, names like Mayhem, Darkthrone and Emperor immediately come to mind. But there’s another name that carved its own path in the dark world of extreme music: Old Man’s Child. With its powerful combination of cold aggression, melodic darkness and sinister atmosphere, this band belongs to most respected forces in black metal. This is the story of Old Man’s Child, who in a few days will grace the stage of Golden R. Festival 2025 (in Volos, Greece)!
by Dimitris Zacharopoulos
The seeds of Old Man’s Child were planted in the late 1980s. In 1989, a young Thomas Rune Andersen (later known as Galder) teamed up with his friends Jardar and Tjodalv to form thrash/death metal band called Requiem. They were inspired by the brutality of Slayer and the aggression of Metallica, covering songs by these giants while slowly shaping their own sound.
In 1990, Requiem released a demo album. The music was raw and heavy, blending death metal riffs with thrash energy. However, by 1992, Requiem dissolved. The Norwegian metal scene was changing. Black metal was rising – and Galder was about to become a key part of that dark revolution.
In 1993, Galder officially created Old Man’s Child. His vision was clear: a band that would combine the ferocity of black metal with haunting melodies and symphonic touches. Unlike many other black metal acts of that era, Old Man’s Child didn’t focus on pure chaos. Instead, their music carried a strong sense of melody, creating an atmospheric and epic sound without losing aggression.
The first official demo came in 1994, titled” In the Shades of Life”. This release quickly gained underground attention and set the stage for something bigger. The music had the raw energy of black metal but with technical guitar work and memorable hooks – something that stood out at the time.
The breakthrough came, when Old Man’s Child signed with Century Media Records. Their debut full-length album, “Born of the Flickering” (1996), introduced them to a global audience. The album featured session members and showcased Galder’s growing skills as a composer. It blended fast tremolo riffs, symphonic keyboards, and demonic vocals into a sound that was both dark and majestic.
Two monumental albums followed: “The Pagan Prosperity” (1997), which elevated Old Man’s Child even further, adding more technical elements and speed – it remains a fan favorite, and “Ill-Natured Spiritual Invasion” (1998), which, featuring Gene Hoglan (Death, Strapping Young Lad, etc.) on drums, delivered a crushing, technical edge. During this period, the band toured occasionally, but live appearances were rare due to constant lineup changes. This instability would become a recurring theme in their history.
By the year 2000, Galder’s reputation had skyrocketed. His guitar work and songwriting skills attracted the attention of Dimmu Borgir, Norway’s biggest symphonic black metal band. Galder officially joined Dimmu Borgir as a guitarist, but he never abandoned Old Man’s Child. In 2000, he released “Revelation 666 – The Curse of Damnation”, a dark and powerful record that many consider one of Old Man’s Child’s best. This was followed by “In Defiance of Existence” (2003) and “Vermin” (2005). Each album pushed the band’s melodic black metal sound further, with massive riffs and an ominous atmosphere.
After “Vermin”, fans had to wait four long years for the next album. In 2009, Old Man’s Child released “Slaves of the World”. Fast, epic and hauntingly melodic, this record was a reminder that Galder still had fire in his veins. It featured relentless blast beats, icy riffs and symphonic layers that created a perfect balance between aggression and melody.
But then… silence! … For more than a decade, there were no new releases, no tours and almost no updates. Galder was fully committed to Dimmu Borgir, and Old Man’s Child became a sleeping beast – a cult band that fans desperately hoped would return.
In 2019, hope returned when Galder posted a short video on Old Man’s Child’s Facebook page showing him working on new material. This was the first sign of life in over ten years. Then, in August 2024, Galder announced that he had left Dimmu Borgir to focus on Old Man’s Child once again. The black metal world exploded with excitement.
By March 2025, Galder revealed that Tjodalv, the band’s original drummer, would rejoin for live performances. For fans, this was a dream come true: the return of a legendary project that had been dormant for far too long. A new album is expected soon, and a tour is planned for summer 2025.
Old Man’s Child may not have toured extensively or released as many albums as some peers, but their influence on melodic black metal is undeniable. They proved that black metal could be brutal and atmospheric/melodic at the same time. Many modern bands cite them as a major inspiration, and their albums remain essential listening for fans of the genre.
Some essential Old Man’s Child songs
- “Demons of the Thorncastle” (from “Born of the Flickering”)
- “The Millennium King” (from “The Pagan Prosperity”)
- “Towards Eternity” (from “Ill-Natured Spiritual Invasion”)
- “Hominis Nocturna” (from “Revelation 666 – The Curse of Damnation”)
- “Black Seeds on Virgin Soil” (from “In Defiance of Existence”)
- “Saviours of Doom” (from “Slaves of the World”)
Old Man’s Child represents something rare: integrity and dedication to pure black metal music. Galder never followed trends. He created music that combined darkness, melody, aggression into something timeless. Now, with a tour under way and a new album on the horizon, fans around the world enjoy the return of these Norwegian masters. The coming years may be their most glorious yet!
