Gotta give it up for Galder – the guy is consistent. From 1999’s Ill-Natured Spiritual Invasion through 2006’s Vermin, he’s basically been making improvements on an already addictive melodic black metal formula: monstrous, sinister riffs, spooky-key grandeur, thundering, syncopated drumming and that cavernous, blackened snarl. (I love the first two albums too but stylistically, they’re a bit different than the others). So it shouldn’t really be surprising that Slaves of the World fits in neatly with its brothers, although there have been some noticeable tweaks.

First off, the production, once again courtesy of Fredrik Nordstrom – it’s dirtier and murkier. Everything still carries the full weight of an orc’s blood-clotted warhammer smashing into a halfling’s skull, but it just sounds nastier than ever before. This is even more noticeable in the vocals, which are rawer and more brutish. Some tracks, like “Saviours of Doom,” even layer different vocal treatments for a deranged, savage effect. Slaves is probably my favorite Old Man’s Child vocal performance to date.

And then there’s the keys. The keys have always kinda been Galder’s thorn – yeah, that haunted-house bombast has always been a part of Old Man Child’s sound, and of the theatrical melodic black metal shtick on a larger scale. Still, you can’t argue that there’s always been a bit of oooh-we-are-scary cheese involved too – especially when synths are used instead of organs or actual symphonies. Well, there aren’t any symphony orchestras here, but Galder has wisely toned down the keys in favor of a more subtle, chilling effect. There are still plenty of whirlwind neoclassical piano flourishes throughout Slaves of the World, but it just feels classier here.

So those are the changes, nothing too dramatic but overall a nice step forward for an outfit that’s already been turning out one solid release after another. I also have to call out the drumming on this, usually a revolving slot. This time it’s filled by Peter Wildoer from Darkane and Pestilence, and it’s a monster of a performance. Galder certainly gives the guy plenty to do – especially considering how busy and varied each of the album’s nine tracks are.

Galder is plenty busy himself – there are so many sick, venomous riffs and ideas packed into these songs, it’s a wonder he can memorize it all (maybe that’s why this has always been a studio band). In a way, it can sometimes be a detriment – many of these songs feel choppier and pieced-together than Dimmu Borgir, for instance, and are not always built around a discernable theme or refrain. Still, they manage to flow nicely from one idea to another and are never jarring. It can make tracks like “Ferden Mot Fiendens Land” a little tougher to learn, since it’s essentially seven or eight distinct sections connected together, with little or no repetition. On the other hand, a track like “Unholy Foreign Crusade,” (the song titles and lyrics, as always, are the least inspired thing about this band), shows a terrific grasp of flow and pace. From an all-out thrash gallop to churning black metal maelstrom to the siren-song solos at the ending, every bit slams into that crunchy double-bass pleasure center in your metal-loving reptilian brain. And so it goes with the whole album.

So should you buy Slaves of the World? If you’re an Old Man’s Child fan, yes. It won’t blow you away in terms of being something revolutionary or different, but it’s another badass addition to the discography and I am enjoying it a lot. If you’ve not heard this band, this is a terrific place to start. I can’t see anyone except the troo and kvlt not enjoying this – it’s quality stuff.

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