Phaëthon - Wielder of the Steel

Phaëthon is an epic heavy metal band from London, England who formed in 2020. “Wielder of the Steel” is their full-length debut album but they have also released a split, demo, and an EP.

So many bands mix various styles together these days and, while there is absolutely nothing wrong with that, it is refreshing to hear some good ol fashion heavy fucking metal. Of course, it could be argued there is power and speed metal involved but let’s not split hairs.  

The 8 track, 42 minute long runtime will split you in half anyway as the band hammer out song after song.  

Music of this nature runs the risk of sounding dated but “Wielder of the Steel” avoids that with a crystal clear modern production that still gives the band plenty of bite. The album does sound like a tribute the their influences in many ways but it also stands tall on its own and sounds fresh. 

Vrath’s vocals are exciting and energetic—his is a mid range voice that is expressive and power but isn’t overly falsetto; it can even be rather gruff at times, tip toeing near extreme vocals.

Although there isn’t anything here that goes on longer than it should, there are a couple ‘epic’ style songs that use their longer lengths to really bring home their sound. These two tracks are “Tolls of Perdition,” and the title track, which ends the album with a bang.

“Tolls of Perdition,” begins with a tight bass line before a massive riff drops, with spoken word vocals at the forefront. The guitar tone of Decado and Vrath is heavy as hell with a ton of bite and weight. As the song builds up, a solo rips through as the song kicks into high gear. 

The dual melodic guitars recall Iron Maiden at their height but, again, their tone just pushes is heavier than any band of the past could be in their time. The towering vocals soar but are laced with danger and doom.  

The spoken word appears later and it has a certain poetic feel to the song, increasing the breadth of its scope. The later half of the song is fast and aggressive, a surprising amount of guile for the style. 

The title track builds up momentum with clean guitar and pounding drums from Oskarath, both of which are backed up by Aees’ demonic bass. The clean instrumentation gives way in a smooth and natural fashion to a ripper of a solo and hurricane riffs. Oskarath displays his considerable chops to full measure, complimenting the music even while being an indispensable part. 

A short but sweet mid paced part with giant riffs just before the 6:48 mark sets up the rest of the song perfectly for the big ending.

The band isn’t all about epics—their music is just as huge in vision during shorter moments. “For The Greater Good of Evil,” is a fine example, what with its galloping riffs and insane vocal deliveries. The middle part pushes the band to extremes beyond the confines of traditional metal and it’s all the better for it. 

“Phaëthon Must Fall,” is another banger that ebbs and flows throughout. It opens with a guitar solo before transforming into a mid paced romper with riffs for days. The bass cuts the song in pieces not long after, rebuilding towards a melodic mid section with vocals that sound like they are coming down from atop a mountain. The later half of the song is vicious and one of the more intense moments on the album with a brutal performance from the drums. 

Ultimately, Phaëthon’s “Wielder of the Steel,” is an exemplary example of how to do an old school sound in a modern way, capturing the spirit of the past while blazing ever towards the future. Heavy metal is the law, heavy metal can be beat. “Wielder of the Steel” makes that statement very apparent.