Old Man’s Child: New Album and First Festival Appearances in Over Twenty Years

The upcoming studio album by Old Man’s Child, scheduled for release on August 15, 2025, through Reaper Entertainment, marks the first new material in sixteen years from the Norwegian melodic black metal project helmed by Tom Rune Andersen, known professionally as Galder. The announcement has drawn considerable attention from international metal press and longtime followers of the genre. As a re-emergence from one of Norway’s enduring figures in extreme music, the release has become a focal point in discussions surrounding black metal’s current generational continuity and label-backed revitalisation efforts.

Founded in Oslo and long recognized for its incorporation of symphonic structures within traditional black metal, Old Man’s Child has remained largely dormant since the release of its last album, ‘Slaves of the World,’ in 2009. Galder’s decision to resume activity under the project’s banner follows his public departure from Dimmu Borgir in 2024, a move that placed renewed focus on his solo compositions and previous discography. With the release now confirmed, attention has shifted to the logistical and artistic decisions behind this new phase, beginning with the forthcoming full-length’s coordination under Reaper Entertainment, a label with a growing presence in European metal distribution.

The timing of the announcement has also drawn interest due to its broader cultural implications, particularly given Old Man’s Child’s absence from recent touring circuits and social media platforms. While no previews of the album have yet been made public, the confirmation of its release date has been substantiated across verified label communications and editorial coverage, positioning the untitled release as a subject of relevance not only for longstanding fans but also for observers tracking the sustained influence of Norway’s black metal tradition.

Old Man’s Child Through the Years

Formed in 1993 in Oslo, Old Man’s Child was established by Tom Rune Andersen—better known by his stage name Galder—as a solo vehicle to explore the darker melodic territories of black metal, distinct from the more lo-fi or purely aggressive tendencies dominating Norway’s early second wave. Drawing influence from thrash metal, classical music, and symphonic arrangements, the project quickly gained recognition for its technical precision and compositional ambition.

Old Man’s Child released its debut album, ‘Born of the Flickering,’ in 1996 through Hot Records, later reissued by Century Media Records. The album featured contributions from notable musicians within the Norwegian scene, including members of Dimmu Borgir and Emperor, and stood out for its blend of melodic guitar work and orchestral keyboard layering. This formula continued through subsequent releases, with ‘The Pagan Prosperity’ (1997) and ‘Ill-Natured Spiritual Invasion’ (1998) cementing the band’s international profile. The latter, recorded with Peter Tägtgren at Abyss Studios, showcased an increasingly polished and technically demanding approach.

A defining characteristic of Old Man’s Child has been Galder’s control over nearly every aspect of production. Following lineup changes in the early years, the project evolved into a one-man operation, with Galder performing all instruments on several later releases. Albums such as ‘Revelation 666 – The Curse of Damnation’ (2000) and ‘In Defiance of Existence’ (2003) reflect this autonomous creative direction, with the former noted for its baroque-influenced keyboards and the latter for its precise, riff-driven intensity.

Despite critical acclaim and a dedicated international following, Old Man’s Child never pursued consistent live performances, distinguishing itself as a studio-focused endeavour. After the release of ‘Slaves of the World’ in 2009—a record that balanced symphonic complexity with a streamlined aggression—Galder shifted attention to his full-time role in Dimmu Borgir. This led to a prolonged hiatus during which Old Man’s Child remained inactive, though interest in the project persisted through reissues, digital platform circulation, and mentions in genre retrospectives.

As a key figure within the evolution of melodic black metal, Galder’s work through Old Man’s Child has influenced numerous acts seeking to bridge traditional black metal with more expansive and structured compositional techniques. The project’s return in 2025 not only marks the end of a 16-year silence but also repositions it within a contemporary context where legacy acts are undergoing critical reappraisal and renewed creative momentum.

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Revisiting ‘Slaves of the World’ (2009)

Released on May 18, 2009, through Century Media Records, ‘Slaves of the World’ was the seventh studio album by Old Man’s Child and the last to be issued before a prolonged period of inactivity. The album was recorded at Studio Fredman in Gothenburg, Sweden, with production handled by Fredrik Nordström. Galder performed all guitars, bass, vocals, and keyboards, while drumming was provided by Peter Wildoer of Darkane.

The material on the album followed the project’s established pattern of combining structured guitar arrangements with layered keyboards and mid- to fast-tempo percussion. While the symphonic elements remained present, they were applied with restraint. The compositions were defined by rhythmic consistency, frequent tempo changes, and minor-key melodic phrasing. The album consists of ten tracks, including ‘Ferden Mot Fiendens Land’ and ‘Saviours of Doom,’ both of which reflect the project’s continued use of multilingual titles and themes focused on destruction and defiance.

Production values on ‘Slaves of the World’ were more polished than on earlier releases, with clearer separation of instruments and compressed mixing aimed at uniformity. The presence of an external drummer contributed to a percussive structure more technically complex than previous efforts. Song durations were consistent across the album, averaging between four and five minutes, contributing to a concise and uniform listening experience.

No touring cycle followed the release, and Old Man’s Child became inactive shortly thereafter. The album remained available through physical and digital distribution and continued to be referenced in connection with Galder’s broader output, particularly during his tenure in Dimmu Borgir. ‘Slaves of the World’ stands as the most recent complete studio release from the project, and its content is frequently cited in relation to Galder’s production techniques and compositional methods.

Galder’s Departure from Dimmu Borgir

Galder’s decision to reactivate Old Man’s Child followed his August 2024 departure from Dimmu Borgir, a group he had been part of for nearly a quarter-century. Public statements at the time made clear that his departure was a self-initiated move intended to focus fully on writing and recording new material under his solo project. In doing so, Galder distanced himself from the more symphonic and mainstream-adjacent direction that Dimmu Borgir had increasingly embraced over recent years, refocusing instead on the streamlined, riff-driven structure that characterized Old Man’s Child’s output during its earlier period of activity. His statement, confirmed across multiple metal media platforms, described the shift as a necessary step toward regaining creative control.

In parallel with the forthcoming studio release, Old Man’s Child has begun live rehearsals for upcoming performances, which include appearances at major festivals such as Sweden Rock Festival, Tons of Rock, and Hellsinki Metal Fest. These engagements will represent the project’s first concerts in over two decades. Integral to this phase is the rejoining of drummer Ian Kenneth Åkesson, known as Tjodalv, whose involvement links the upcoming live performances to the band’s earlier stylistic identity.

The production of the untitled album reflects Galder’s long-standing self-reliance in the studio. While full recording and mastering details have not been publicly disclosed, available reports confirm that the album was completed following his exit from Dimmu Borgir. In interviews and label statements, Reaper Entertainment has framed the release as a continuation of Old Man’s Child’s established discography, though without referencing specific stylistic changes or departures. The label’s involvement reflects its broader positioning within the European metal distribution circuit, with a catalogue focused on both established and underground acts across multiple subgenres.

In preparation for the album’s release, Reaper Entertainment and third-party retailers have also reissued several titles from the band’s back catalogue. Among them is a new pressing of ‘Ill-Natured Spiritual Invasion,’ a 1998 album noted for its balance between melodic structures and rapid rhythmic execution. The timing of these reissues has served to reintroduce the project’s earlier material to newer listeners, many of whom may have become familiar with Galder through his more recent tenure in Dimmu Borgir. These releases, made available through independent distributors across Europe, have coincided with renewed social media activity and archival features published by genre-specific outlets.

Since the initial announcement of the new album, audience response has largely reflected the long-standing loyalty associated with Old Man’s Child. Online forums, metal-focused press, and festival promotional channels have all registered strong anticipation for both the studio album and the scheduled live performances. While no singles have been released at the time of writing, the combination of tour announcements, lineup confirmations, and reissue campaigns has positioned the album within a broader effort to reestablish Old Man’s Child as an active participant in the current extreme metal field. Critical coverage is expected to follow once preview tracks or press materials are made publicly available.

The confirmed release date of August 15, 2025, will situate the untitled album among a number of late-summer releases by legacy metal acts. While it remains to be seen how the album will be received in terms of critical or commercial metrics, its announcement—framed by Galder’s departure from Dimmu Borgir and a reconfiguration of Old Man’s Child’s performance structure—provides a clear context for its significance. The alignment with Reaper Entertainment, the inclusion of former members, and the integration of both new material and archival reissues all point toward a deliberate strategy of re-engagement, grounded in verified developments rather than retrospective narrative.

Rejoining of Drummer Tjodalv for 2025 Live Performances

The reactivation of Old Man’s Child in 2025 includes the confirmed involvement of drummer Ian Kenneth Åkesson, professionally known as Tjodalv, who had previously played a formative role in the band’s development during its earlier period of activity. His participation in the group’s scheduled festival appearances represents the first public collaboration between Galder and Tjodalv under the Old Man’s Child banner in over two decades. The decision to involve Tjodalv was disclosed in multiple interviews and event announcements, and has been viewed by genre media as a direct link to the stylistic and personnel configuration associated with the band’s earlier albums.

Tjodalv’s return also follows a broader pattern of artists affiliated with the Norwegian extreme metal scene renewing collaborative ties in recent years, particularly through the festival circuit. With performances set to take place at events such as Tons of Rock and Hellsinki Metal Fest, both of which cater to audiences familiar with Scandinavian black metal’s historical trajectory, the inclusion of an original member with longstanding credibility has received attention from both fans and editorial commentators. His rejoining is not presented as a full-time arrangement, but rather as a focused alignment for the upcoming festival season.

While Old Man’s Child has historically operated as a studio-based solo project with Galder managing most instrumental and compositional duties, the integration of Tjodalv for live performances reflects a logistical adaptation required by the demands of festival programming. Rehearsals began in early 2025, as reported by several metal publications, with preparations focused on presenting a setlist that draws from multiple periods of the band’s discography. No additional permanent lineup changes have been announced at this stage, though further updates may be expected as live dates approach.

Scheduled Festival Appearances Following Hiatus

Old Man’s Child is set to reenter the live performance circuit in 2025, with scheduled appearances at several European festivals, including Sweden Rock Festival (Sweden), Tons of Rock (Norway), and Hellsinki Metal Fest (Finland). These performances will constitute the project’s first confirmed concerts in more than two decades and are structured as part of a limited run rather than a full tour. Announcements were disseminated through festival organizers and confirmed by Reaper Entertainment and Galder through official channels.

The inclusion of Old Man’s Child on these lineups coincides with a broader resurgence of interest in foundational black metal acts, many of whom are appearing on multigenerational rosters alongside newer extreme metal performers. Tons of Rock, in particular, has maintained a consistent focus on prominent Scandinavian metal artists, while Hellsinki Metal Fest has continued to feature a balance of established and emergent acts across black, death, and doom subgenres. Sweden Rock Festival’s programming, although more stylistically varied, provides the largest platform by audience size among the three.

No additional dates beyond the listed festival appearances have been confirmed as of publication. Rehearsals for the live sets are ongoing, with indications that the performances will include material spanning the band’s studio catalogue, though no formal setlist has been disclosed. The upcoming concerts are positioned primarily as part of the promotional cycle for the forthcoming album, with the performances likely to serve both archival and anticipatory functions within the project’s renewed public activity.

Reissue of Previous Albums Ahead of 2025 Release

Ahead of the scheduled release of the new album, several of Old Man’s Child’s earlier albums have been reissued by independent distributors and specialist retailers. Among these is a new vinyl pressing of ‘Ill-Natured Spiritual Invasion,’ originally released in 1998 and long considered part of the band’s formative discography. The reissue has been made available through European distribution channels and listed for pre-order on platforms that cater to collectors of extreme metal recordings.

These releases have not been accompanied by formal press statements from Galder or Reaper Entertainment but appear aligned with the broader resurgence of the project’s visibility in the months preceding the new album’s announcement. Industry patterns suggest that such reissues function both as a response to renewed public interest and as a means of reestablishing catalogue continuity for audiences unfamiliar with earlier material.

While additional titles from the back catalogue have not yet been confirmed for reissue, the availability of ‘Ill-Natured Spiritual Invasion’ in physical formats—particularly vinyl—suggests a coordinated effort to reintroduce the band’s discography in advance of the August 2025 release. The timing and content of these pressings provide a measurable context for evaluating how past material is being positioned within the framework of Old Man’s Child’s reactivation.

Conclusion

‘Slaves of the World,’ released in 2009, remains the most recent studio album from the Norwegian project Old Man’s Child, providing a detailed account of Galder’s compositional preferences at the time and the production methods he favored during the late 2000s. Its structure, instrumentation, and restraint in arrangement positioned it distinctly within the black metal field, particularly as other Norwegian acts pursued broader stylistic departures.

As the project resumes activity after an extended recording absence, the upcoming full-length scheduled for release on August 15, 2025, via Reaper Entertainment, invites consideration not only of what Old Man’s Child may contribute to the present discourse around melodic black metal but also of how past works continue to inform those expectations. Readers familiar with the project’s earlier recordings are welcome to reflect on how ‘Slaves of the World’ shaped their perception of Galder’s catalogue and the ways in which these new developments relate to that earlier body of work.