Current Lineup (As SHOWN ABOVE)

  • Joel Gardner – Bass and Backup Vocals
    • 2006 – present
  • Greg Turner – Drums
    • 2015 – present
  • Andy Jones – Vocals
    • 1999 – 2004 / 2006 / 2011 – present
  • Alex Lassetter – Lead Guitar
    • 2000 – present
  • Clint Lawrence – Rhythm Guitar
    • 2004 – present

Previous Members

  • Al Stoiche – Rhythm Guitar
    • 1999 – 2000
  • Craig Swadling – Bass
    • 1999 – 2006
  • Mike Ioppolo- Drums
    • 2000 – 2001
  • Ashley Doodkorte- Drums
    • 2001 – 2008
  • Wayne Panomarenko – Keyboards
    • 2002 – 2004
  • Kris Falconer – Vocals
    • 2004 – 2006
  • Ael Bennett – Vocals
    • 2006 – 2011
  • Tim Stelter – Drums and Backup Vocals
    • 2008 – 2013


‘Malevolence’ – EP – 2003

‘This Wrath’




‘Self-Imposed Exile’

‘Year of the Phoenix’ – Single – 2006

‘Year of the Phoenix’


‘Year of the Phoenix’ Video

‘Omnia’ – LP – 2007


‘Bathed in Flame’



‘One-Man Knife Fight’




‘Mr Shadow’ – Single – 2008

‘Mr Shadow’

‘Perceptionless’ (remixed)

‘Biologic’ – LP – 2013


‘My Enigma’



‘The Nepotist’

‘Fallen Idol’

‘A Call to Arms’

‘Upper Echelon’

Notable Supports

  • Alchemist
  • Devolved
  • Abramelin
  • Blood Duster
  • Frankenbok
  • Daysend
  • Destroyer666

Notable Appearances

  • ‘Underearthed II’ Compilation – 2003
    • ‘Evilbreed’
  • ‘Your Mum’s a Filter’ – Promo Video – 2004
    • ‘Dipsomaniac’
  • Kiss My WAMi – 2008
    • ‘Apathy’
  • Two Fists One Heart Movie Score – 2009
    • ‘Perceptionless’


VIDEO: Pyromesh – ‘Year of the Phoenix’

Access higher resolution version here.


Omnia review by Justin Donnelly from The Metal Forge:

Although having weathered several line-up shuffles since their formation (As far back as late 2001), and having only emerged with two modestly successful releases within that time (2003′s five track E.P. Malevolence and 2006′s stop-gap three track single Year Of The Phoenix), Perth (Western Australia) based act Pyromesh have finally overcome the challenges of the past to complete work on their debut full-length effort. Comprised of eight tracks, Omnia is the culmination of two years hard work from the five-piece act (Who comprise of vocalist Ael Bennett, guitarists Alex Lassetter and Clint Lawrence, bassist Joel Gardner and drummer Ashley Doodkorte), and their hard work has certainly paid off.

The opening track Apathy immediately proves that Pyromesh are anything but your standard progressive/alternative metal outfit, with co-producer Stuart James’ unobtrusive string arrangements helping add some weight to the riff structures. The use of keyboards lends an air of drama to the heavier moments in the song too, giving Pyromesh a sound that is very much progressive sounding, yet undeniably aggressive and metallic in equal measure. The first three minutes of follow-up track Bathed In Flame sees the band in full-on aggressive mode with Bennett in particular leading the pack with his diverse screaming efforts. But it’s around the halfway mark that the song heads in a completely different direction when it gives way for some great Nile-like Middle Eastern influences. The title track Omnia once again reveals a different side of the band’s collective sound, with Bennett showcasing his clean vocals alongside his proven scream abilities, with the keyboards/samples dotted throughout giving the song a slight industrialised feel.

Living up to their names, Hellbent, Jezebel and One-Man Knife Fight see the band deliver a few punishing no-nonsense progressive tinged blackened/modern thrash metal tunes, whereas the lengthier pair of Perceptionless and Oblivion, see the band stretch themselves in a musical sense, with the progressive influences within the band’s sound coming to the fore.

It may have taken Pyromesh a long time to finally get things off the ground, but with the end result being Omnia, there’s no denying that the time spent has well and truly worked in the band’s favour.

Biologic review by Chris Gardner from the now defunct Spaceship News:

With the rise of extreme metal, bands shifted their focus towards unusual structures and tonalities, technical virtuosity and the never-ending search for even more extreeeeeme and brutal heaviness. It’s a shame, because many of the acts that inspired modern metal were as melodic as they were heavy. Groups like Tool, Pantera and Strapping Young Lad could craft a hook that got stuck in your head and still find space in the song for earth-cracking brutality. For old-school metal fans lamenting the marginalization of older metal aesthetics, PYROMESH are one of the last bastions of heavy songcraft, employing heaviness as one of many elements in their sound, rather than the be all and end all. With Biologic, their first studio record in six years, Pyromesh have forged one of the tightest local releases in recent memory: forty minutes of polished, wall-of-sound metal, built on a solid foundation of well-crafted riffs and melodies.

The songs on Biologic are rich and detailed, with a refreshingly midrange-y guitar tone that is, thankfully, neither djent nor -core. Rapid double kick runs and palm muted power chord riffs recall the days when Metallica could be called “heavy” in mixed company without the obligatory snorts of derision, while vocalist Andy Jones shows his versatility with clean vocals, death growls and the kind of vicious scream that makes Devin Townsend so horrifying. Tracks like opener ‘Ethereal‘ swing with an alt-metal flavour, with a sludgy verse breaking into an open, half time refrain, while ‘A Call To Arms‘ and ‘The Nepotist‘ move with the kind of immediacy reminiscent of old school thrash heroes like Slayer.

Complimenting the twin guitar assault from Alex Lasseter and Clint Lawrence, the group weave synth pads in and out of the record, creating ambiences over which they can lay their thick, punishing guitar riffs. Applying synthesisers to heavy metal requires the utmost subtlety while still justifying their place in the record. Pyromesh have found that perfect balance, letting the fattest guitar riffs dominate the sonic landscape for the most part, while bringing in synthesiser backing and light, airy melodies to add openness to chorus or lead breaks. This touch, normally so cliche in the world of heavy music, gives the record a sense of variety and helps the band sound heavy without resorting to ridiculous de-tuning or the dreaded b-b-b-breakdown.

Biologic is a cleanly produced record, with a balanced focus on the melodies and dynamics, rather than making the heaviest record possible. In their wisdom, the band have reserved the bone-crushing heaviness for their live shows and letting the record emphasise their skills as songwriters. Make no mistake; it’s pretty hard to get more than three songs into Biologic without cranking the volume and starting a one man mosh pit next to the stereo, but if you can find it in yourself to sit patiently and absorb all eight tracks, the discerning metal listener will find a lot to like here; a detailed and dynamic record showing that metal, as a genre, has far more to offer than simple, pummelling brutality.