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PHAËTHON
Wielder Of The Steel

Gates Of Hell (2024)
Rating: 6/10

The hills are alive with the sound of metal music as fully-armoured London, England-based combo Phaëthon thump their chest, hold aloft their swords and bark commands across the valleys of fog and fern.

Phaëthon mainman S. Vrath (vocals and guitar) is a bit of an acquired taste when it comes to his croons, so heed the warning. And while I’m on the subject of the negatives, this debut full-length album boasts too many long track tracks. I understand that a band of this ilk are trying to give the impression of being epic, but it’s just a bore, especially on the almost ten-minute closing title track.

In-between the layers of unnecessary fat though are some impressive melodies which flirt with the more obvious Iron Maiden and Manowar to Cirith Ungol and Manilla Road influences. If you like Viking metal, even circa some of Bathory’s more majestic episodes then you’ll no doubt bathe in the mists of opener ‘Eternal Hammerer’ which smells of rain from dull, leaden skies as Vrath punches a cloud with raised fist. But for me it’s the hastier adventures which appeal the most. ‘Blasphemers’ boasts a black thrash spine and is surprisingly aggressive in its stance, almost mirroring Vrath’s other band Craven Idol, while portions of ‘For The Greater Good Of Evil’ show evidence of a bombastic nature.

Unfortunately, this is not an album I’m enchanted or regaled by, mostly due to so many inconsistencies and some annoying spoken word passages which hinder ‘Tolls Of Perdition’ in spite of its fusion of Manowar and Iron Maiden. There’s certainly no shortage of drama on display here though. ‘Vanguard Of The Emperor’ is colossal in its delivery as Vrath and fellow warrior Decado shake their axe strings and cause marble halls to crumble.

Throughout the album the drums of Oskarath and the bass of Aees are great pillars which act as solid reflections of Manilla Road and Brocas Helm, and coupled with the rich and descriptive lyrics Wielder Of The Steel serves up many an epic tale for those with a thirst for such adventure. Steaming with medieval mustiness, this is a debut album that through its awkwardly archaic aura remains entertaining but a bit frustrating to ponder and navigate.

Neil Arnold

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