[GIG REVIEW]: GHOSTSMOKER + Supports @ The Bendigo Hotel, 29.03.25.
Ghostsmoker - Inertia Cult Album Release Gig Review
Date: Sat 29/03/25
Venue: The Bendigo Hotel, Collingwood (Melbourne, AU)
Supports (click for artist Bandcamp profiles):
Bentham’s Head/AGLO/Mammon’s Throne.
Words: Dean
Photography:
Rajesh Kotian of Blackened Light Photography (Instagram/ Facebook)
Robert Cuzens , aka @lordrobsatan (IG link)
Dan McKay - IG: @dannomc
It was a perfect Autumn eve.
A cool respite from yet another warm spell. The night closed in as the breeze stirred through autumnal leaves. Metalheads adorned all in black with band insignias ablaze drifted their way through the suburbs, to convene at The Bendigo Hotel for what was to be a truly memorable night of crushing Doom.
Showcasing the undisputable talent that Melbourne’s metal scene has to offer, headliners Ghostsmoker had assembled their allies for an unforgettable tomb-shattering delivery, loud and spirited enough to raise the dead.
For those passionate punters, familiar faces, hardened headbangers committed to supporting the scene, this was indeed a celebratory moment. Not only was this the monumental release of Ghostsmokers’ first LP Inertia Cult, it was also filled to the brim with some of the heaviest blackened sludge you’ll find this side of the equator. Namely, three bands bonding together in true Aussie mateship, supporting their mates and one of their favourite bands.
That sentiment was truly embraced by the audience which was nigh on capacity on a night not bereft of other notable gigs around the city. The punters were also in a celebratory mood, and many were there whom have followed Ghostsmoker from relative obscurity, emerging out of the surreal landscape of Melbourne’s draconian lockdowns in 2021. Some notables included ‘Chappo’ from Mountain Wizard Death Cult, who ardently made the trip down from Sydney to witness the spectacle and stand in solidarity with Australia’s Doom scene.
In his heartfelt thank you address to the crowd, Nathan of Ghostsmoker declared, “It’s been a long road”.
Indeed, it’s hard work playing in an underground band, we all acknowledge that. Just keeping the same crew together in this day and age can be a challenge. It has to be recognised as a culmination of a superlative effort on Ghostsmoker’s part to deliver live in its entirety their first full length at a headlining show, to a packed out Melbourne crowd, within the space of three and a half years. There’s a lot of music snobs here (me included), so if you can make it in Melbourne, well “yer bloody alright mate!’”
I was privileged to see Ghostsmoker perform at The Bendi for ‘Doom in June’, back in 2022.
The place was heaving, as we’d not long been out of lockdowns. It was a truly amazing bill including Mammon’s Throne amongst other notables, with Goat Shaman headlining the festival. Not only was this the first local metal gig I’d ever been to (yes I’m a late bloomer - or perhaps rotter) but the first time I’d ever seen both Ghostsmoker and Mammon’s Throne. I was in awe of both bands. I knew I’d witnessed something remarkable and could sense their potential as emerging bands.
Hence, it only seems fitting that Ghostsmoker birthed their first full length at The Bendi - and last night they threw down the gauntlet in a terrifyingly monster set.
Editor’s Note - with the current cost of living crisis, it’s hard to pull a lineup like this for 30 shekels AUD in 2025. What a lineup! Go check out these bands if you claim to love your Australian doom. - Brady.
Those that prioritised early attendance were either fans of Bentham’s Head or in for a surprise. I had heard good things about these lads although not having seen them previously.
In the recent ISC podcast interview with Ben and Nathan from Ghostsmoker, Nathan spoke highly of Bentham’s Head, so I was keen to get the low-down. These guys are very capable musicians in their own right. They took the stage for their soundcheck looking like a bunch of uni students fronted by Conor White who looks like he’s just come off the set of Upper Middle Class Bogan. Nothing try-hard here; these guys were fully confident in what they were delivering. The sound-check alone was blistering and had the early-birds in anticipation for what was to follow for the night.
Blue lights on, guitarists and Conor standing with their backs to the audience the bass drum just erupted with kicks. Turning to face the audience, the guitarists launched into brutal high-octane-fed riffage, guitar meticulously synchronised with high end screaming chords, dropping down, down to lower-octave chugs to round off, roiling drumming underpinning the rhythm as Connor belted out some gravelly screams.
This was followed up with a compelling passage of lead that just got bigger and bigger until the the blastbeats came through, guitars howling as the crowd were hit with a face-melting sonic wall that felt like they'd just awakened impending doom from the ‘Isle of Dread’.
Upper-Middle Doomer. Credit: Rob (links at top of article).
Conor White has a powerful vocal range, which encompasses grindcore style growls through to intense screams and emotive cleans. Bentham’s Head delivered an impassioned set of high-energy numbers that were captivatingly varied in their delivery. Not only were they changing mood and tempo throughout these tracks, they were showcasing their aptitude as songwriters and performers to blend genres from track to track, and even within songs.
Lead guitarist Rick Grimm’s shredding was epically metal, and was a sonic treat over the doomy, driving, heavy riffs of Christopher West. The band took us into some proggy doom without the typecast jazzification. Rather, an onslaught of heavy riffage cycling through moments of melodic death/doom, blackened-death tinged doom, chunks of grindcore and even a more traditional passage that was reminiscent of Black Sabbath-era doom.
The closer was a weird, misshapen creature, twisting and turning in tone and tempo, eventually progressing into a thrash riff which collapsed in on itself only to close out with a slow heavy doom riff. The appreciative modest crowd was warmed up through several intense bouts of headbanging. I was put on notice - they were good. Thank you Ghostsmoker for opening the night with Bentham’s Head.
If you haven’t seen them, here’s their endorsement.
Credit: Dan McKay - @dannomc
Between the start and finish of Bentham’s Heads set the crowd had grown exponentially and the Bendi was now filling out as AGLO took to the stage.
I was curious to witness these guys, as I had never seen them previously. Especially considering that Brayden from Ghostsmoker also plays drums for AGLO.
AGLO were absolutely vicious in their presence and sound and meant business from the word go. AGLO opened up with a huge pounding riff and Brayden was thumping the kit. Aaron Osborne set the crowd to ‘auto stank face’ when he growled through the opening verse to finish with a venomous ‘Bluugggrrrhhh!’ and the crowd were instantly headbanging through the deepest, heaviest riff yet. This was Death/Doom at its finest, with some blackened putrescence thrown in for good measure. The opener wound its’ way through being slow and menacing, to hitting like the Urük-hai battering-ram on Helm’s Deep’s front gates.
The second number, ‘Last Rites’, began with a scrambling, distorted guitar line, Brayden rumbling through the toms and accenting on the bass drum. Then - ‘Bluuugghh’! We were dragged into a swampy mire of sludgy heavy, down-tuned chords transitioned into a chugging verse with Aaron’s guttural vocals stirring up the crowd, the lead guitar working through sinister sliding, screeching notes and dissonant sharps, the bass guitar absolutely thumping in the background.
Hell this was good live!
From AGLO’s Facebook profile - pic credit, Dan McKay - @dannomc
Aaron had some metal tinged political commentary on the Palestinian genocide as he announced the third track. It essentially amounted to “Free Palestine, Fuck the idiot Zionists!” This was received with some positive affirmation from members of the crowd.
You can bet what followed, then, was stompy and aggressive.
Red lights emblazoning the stage. The verse was a lumbering gargantuan of a passage which led to a chorus of massive distorted heavy power chords, pounding bass-drum on the up beats and Brayden smashing the absolute beer-jesus out of the ride cymbal.The toms got the life whipped out of them in a build up to a crushingly huge finale.
The next track: ‘A Sentient Bomb Trapped in a Planet’ didn’t fail to deliver, this was thundering Doom and appears to be a new offering from Aaron and the band. (I believe this was inspired by the 1974 Sci-Fi movie Dark Star’?). This elicited a sea of headbanging from the punters and a spontaneous, cheeky mosh front-and-centre.
The final track was sublime Death/Doom, really slowed and heavy. They have a new fan - and I’m sure I’m not the only one. If you’re into this style of heavy crushing riffs and dissonant lead, I recommend you see them live.
Credit: Rob Cuzens (refer to link at top of article; IG - @lordrobsatan)
Anticipation was building as the crowd was buzzing and filling up The Bendi, fast returning to be the epicenter of metal in Melbourne. Mammon’s Throne took the stage looking like Visigoths preparing for the sacking of Rome. The set opened with a blistering outpouring of Gothic Doom.
Credit: Raj (Blackened Lights - links above)
The sound of panic chords and heavy, downtuned bass as Nick slapped the skins to submission, Matt's enigmatic growls spewing out over Amesh’s uptempo, whirring lead guitar. As the track slows to echoing reverb and gravity-inducing riffs, Amesh leans in to pose for the cameras and the crowd respond.
Mammon’s Throne sounds tight, as Johnny and Sam work the rhythm and the bass in unison. The crowd are fixated as Matt screams into the mic, hand raised as if summoning demons. We have reached the witching hour.
Credit: Dan McKay - @dannomc
Shifting tempo, Matt announces ‘Return to the Stars’.
There is an audible collective breath from the audience, as many are aware of the epic track. Under blue lights, the band slowly stomp their way into the opening verse. The slow build gets heavier, as the central riff pounds out across the Bendi. Horror reigns as Matt growls through the chorus, and Amesh powers through the lead melody like the sound of insanity unleashed, the crowd headbanging along with Matt.
Then, the rhythm peters out on sustained distortion. Spotlight on Amesh as he plays the solemn poignant interlude, the crowd swaying in unison. The bass joins and quietly builds into screaming riffs pounding drums and Matt howling ‘Shatter the sky, rain down, pierce the night and devour me and return us to the stars…’ The final delivery was epic in its proportions.
Credit: Rob Cuzens (refer to link at top of article; IG - @lordrobsatan)
Mammon’s Throne was in fine form, and surprised us with a follow up new track entitled ‘Senseless Death’. It began with a slow build, Matt delivering deep growls underpinned with blackened chords. This builds to Nick pounding the drums into an evil force-majeure of fury.
The lead guitar is sinister and sharp and the riff ends in heavy minor chords then back into the verse with a swing, swing, pound, pound, pound. This track was well received, the crowd headbanging along to Matt’s amazing growls and the riffing was hypnotising.
As one gentleman behind me announced at its conclusion. ‘That was very very good!’
More surprises followed as Matt announced the band are working on a new album and then followed with the new track ‘Nosferatu’. For those that attended the Pallbearer/Conan gig earlier in the month this was not entirely new, but I’m sure a few like myself were gagging to hear it again. Green and blue lights illuminated the stage as a creepy horror themed synth intro lead us into a massive bass drop.
Matt screamed and growled out pure vitriol: ‘Nosferatu…drink your fill!’. This is an outstanding track; intense and threatening, the power of the mythical vampire encapsulated in the dark, doomy riff. Mammon’s Throne honoured their mates in Ghostsmoker with a truly captivating set, and we are now eagerly anticipating their upcoming release. Hopefully their album launch is a night to remember like this one.
Credit: Raj (Blackened Lights - links above, IG @blackened.lights
The air was thick with excitement as Ghostsmoker took to the stage.
The moment had finally arrived.
Credit: Raj (Blackened Lights)
The Bendi was prepared thrice as Melbourne’s Doom Metal capital, the atmosphere was jubilant as Ghostsmoker were met to a unison of cheers and whoops. Lights dipped to red, as Nathan took centre stage.
Ben on guitar to his right, Rhys on bass to his left and Brayden once again resuming his power position, rolling through the toms to intro ‘Elogium’ as the chug of the guitar cascaded into the earth-shattering riff. The audience were entranced.
Nathan croaking out a call to a zombie army of headbangers going way back beyond the bar, his switching between raspy croaks to his characteristic guttural snarls reminiscent of the Goblin King from The Labyrinth. The solo lead refrain halfway through was evocatively suspenseful; the band played tight as Brayden joined with his rolling drum pattern and Rhys' big harmonics floating along - until the riff came crashing down like a Cthulhu nightmare unleashed. Brayden was absolutely mutilating the skins at this point, as the guitars grew into a cataclysmic riff. The perfect harmony of the ditched chords and Nathan's growl as he leaned into the crowd at stage front.
Credit: Rob Cuzens (refer to link at top of article; IG - @lordrobsatan)
Ghostsmoker have derived a powerful, heavy, driving sound of unimaginable horrors that lie beyond the conscious mind in the form of intangible nightmares. This is the sort of captivating terror that mesmerises the soul and holds you transfixed. ‘Bodies to Shore’ epitomises this as it starts with its chiming muted guitar and the thud thud of the bass and bass drum. On stage this translated to flashing whites, Brayden laying down the first stilted bars of percussion leading into the heavy, sodden verse, with Nathan's vocals growling out vehemently into the main riff that drags you down down through the scale. The harmonic reverb that Ben plays as the midway point was truly spine-chilling, and this just built magnificently live.
Credit: Rob Cuzens
Nathan gestured arms outstretched to the crowd, as devil-horns were thrust forth. The bass and drums grumbled along in the background, as Ben’s switch to a distorted riff got heavy and nasty. That is, until the track broke into a moment of psychedelic alien terror, all the while Rhys’ bassline thumping along, throwing himself into a maddening dance, headbanging violently along with the crowd. A crowd who were fully into the frenzy of the pulsating riff, as Brayden closed with an insane drum solo.
Credit: Raj of Blackened Lights.
Another surprise for the evening, Conor White standing next to me in the crowd and unashamedly headbanging, now steps onto the stage and is handed a mic from Nathan as the chilling lead intro for ‘Incarnate’ starts up.
Credit: Raj of Blackened Lights.
Conor begins to sing the whispery lyrics from beyond the grave, as Nathan headbangs along prior to joining him with a raspy growl. The bass and guitar play the central riff back and forth, with Ben playing out the bar with a discordant melody. Nathan encouraged the crowd to keep up the headbanging. The live delivery of this track is skull-smashing in its’ heavy passages, Conor and Nathan growling and screaming intermittently in unison, really adding another dimension to this doomy incantation.
Like a skulking horror from the depths, the muted intro to ‘Inertia Cult’ rings out across the ceiling of the Bendi. Bell-like chimes of Ben’s lead, partnered with eerie minor-notes off the bass. All before rolling drums and the chilling tap of the cymbals open up to a mammoth, deafening riff that booms resonantly like some unleashed beast that just crawled out of some long, dark hibernation. Nathan was belting the growls out by this stage, and the crowd were fully caught up in the fervour.
When the uptempo riff hit following the chorus, there was a wave of headbanging. The sustained outro on the guitar and bass transfixed the crowd, leading perfectly into ‘Haven’.
‘Haven’ got off like rolling thunder, the up-tempo intro pulling the crowd into the foreboding nightmare as the band were well up and about now. Nathan emphatically growls out the lines as he gestures heavenward with outstretched fingers. The chorus was played out with a real menacing, blackened burst.
Growling into the chorus, the guitar belts out these frenetic, sharp-cutting, staggered chords whilst Rhys’ bassline chugged away underneath, playing low open strings. The band were emphatically driving out the slow deliberate outro, Nathan headbanging and pounding the air with his fist whilst Ben and Rhys were entertaining the crowd with heavy, deliberate riffing. Brayden went full behemoth, standing over the skins and smashing them as hard as he could. At this point Brayden calls out to the crowd to ‘fuck shit up!’ The slow black-hole-inducing outro reverberated throughout the Bendi as heads swayed back and forth in glee.
Credit: Rob Cuzens.
’The Death of Solitude’: Such a perfect closer to both the album and the evening. Ben’s massively distorted power chords ringing out through the darkness as if heralding the apocalypse, spine chilling. The slow menacing build of the drums and bass as Nathan stood front and centre, slowly head banging, just embracing the doomy vibe, almost in a meditative state.
Then, rumbling drums joined along with a sustained bass note and a pulsating chord. And then the arrival of a hellscape, as shrill chords peeled out; Rhys playing out a running bassline with the drums quivering underneath like an earth tremor until the whole piece broke open with an incredibly weighty guitar and bass riff.
Nathan screaming out akin to concluding a ritual summoning of a legion of demons. His body rocking back and forth. Likewise, there was not a still body in the crowd at this stage, and with that thumping riff folding back down the octave like the collapse of civilisation, the crowd were now like a volcano about to erupt.
Fists and devil horns were being flung far and wide, and the front rows were in a bone-crushing doom induced delirium. And with that, the final heavy chord of the riff reached an abrupt conclusion. Followed by the now-hallmark looping echo of that initial haunting, distorted chord, fading out as the hall lights came on.
As if we were emerging from a realm of existential dread - by the skin of our teeth.