The Old Testament is a sonic time capsule of the gritty, cinematic production that defined the "Killa Bee" sound of the 1990s. The album features a heavy rotation of legendary producers:
The final, and most theologically explosive, usage of “son of man” in the Old Testament appears in Daniel 7. Here, in a vision of four beasts arising from the chaotic sea, a figure appears: “one like a son of man” ( kebar enash in Aramaic), who comes “with the clouds of heaven” and is presented before the Ancient of Days. To him is given “dominion, glory, and a kingdom, that all peoples, nations, and languages should serve him” (Daniel 7:13-14).
This is a radical departure. In Ezekiel, the son of man is the singular, weak prophet. In the Psalms, the son of man is the emblem of humble humanity. But in Daniel, the corporate identity of the son of man emerges. Most scholars agree that this figure represents the “saints of the Most High”—the faithful remnant of Israel—in contrast to the bestial, violent empires of the world. Yet the “one like a son of man” is also an individual archetype. He is a human figure who receives what the beasts cannot: a throne. Unlike the pagan kings who claimed to be gods, this king is authentically human. His dominion is not won through predatory power but bestowed by divine decree. The Danielic son of man is the answer to the failed kingship of Adam: a humanity that rules not by seizing the fruit of the tree of knowledge, but by receiving the kingdom from the hand of God.