The Fumes

THE FUMES w. Whiskey Go Gos + Devoted Few + friends @ the Annandale Hotel (17/02/2008)
Reviews by RaccoonRockette, 19th February, 2008
[…]A nice kip and a cup of tea were unfortunately not on the cards for I yet. However, everyone should be willing to sacrifice a small pleasure such as that for the significantly greater pleasure of seeing Sydney’s The Fumes live. Never have I known a band to improve on such a consistent level – a mean feat considering they’ve been fantastic since they began carving up the live scene in 2004.

Let me stress one thing: The Fumes are a two piece band. This may seem like a curious statement. But when a two piece act can make a noise that rivals a freight train smashing into a stationary Boeing 707 that immediately catches alight and explodes – it deserves a mention. It warrants even more of a mention when they still make you wana shake it like you don’t have work tomorrow, and may never again. Raw, uncompromising and exceptionally in sync with one another; guitarist/singer Steve Merry and drummer Joel Battersby send the crowd absolutely bananas; all the while hinting they’ve actually got plenty more to give than they have to the world of filthy blues and rock thus far. It’s beyond titillating as they break out a range of old favourites from their brilliant debut album Guns Of Gold , and some stunning new tracks. Warming the crowd up with two new tunes, the duo then launch head on into one of their never-fail crowd pleasers – Automobile. The beat is a strong, steady, sexy beast of a thing, complemented and then driven by Merry’s measured, chunky, and finally frenetic strumming. He quite simply plays the guitar as though it’s as easy to him as breathing, possibly easier. He displays his unquestionable talent on two solo acoustic tracks he performs, much to the delight of many a person in a darkened corner who has taken to swaying. Atlanta Rising and Mystery Belle are both standouts of the set, particularly the latter which speaks of “true story” of the perils of working out at sea and reaching his love again. By the end of the set, the crowd was well and truly sloppy from the hours and hours of grouse entertainment, and I saw my first semi-violent Fumes moshpit, for the fast-paced, big riff number Tell Ya Story Walkin’. Battersby amazes during this song. He hits the drums like he’s playing for his eternal salvation – a human metronome with arms of steel.

I left the ‘dale tired yet so musically satisfied I did not entertain the idea of the fast food restaurant across the road. Many a convert was made this ‘eve, to the power of the dirty blues rock times infinity. As it was in the beginning is now and ever shall be.

- www.fasterlouder.com.au

With a much talked about debut and a three-year recording silence foreshadowing their second album, many were speculating that Sydney rockers The Fumes didn’t have a second one in them. With the release of their superb encore, Sundancer, though, things have proven to be just the opposite as Soulshine’s Max Easton writes.

Anyone with a penchant for live music in Australia has probably seen the Fumes. In fact, at one point they toured so frequently that it was almost impossible not to go to the local pub and see a poster for an upcoming appearance. This was spurred on by the release of their fantastic debut record, ‘Guns of Gold,’ which in turn led into yet another nation-wide tour. During and after all this touring and recording, they managed somehow to fit in support with The Beautiful Girls, a double-headline tour with The Vasco Era, exclusive support for Queens of the Stone Age, and most recently, an appearance at 2008’s Fuji Rock Festival. To top all that off, they’ve been given the honour of appearing at the Texan South-By-South West Festival and at Canadian Music Week in Toronto which they’ll be busy with leading into the release of this record, their second, titled ‘Sundancer’...and what an album it is. The two-piece guitar and drums combo - that eventuated around the same time as the Black Keys rise to fame - have pulled a rabbit out of their hat for 11 tracks of dirty, gritty, grungy, powerful blues-rock unrivalled by any Australian competition. And yeah...it will rock your socks, pants and shirts off.

The Fumes have a pretty simple band recipe. One Drum kit, one guitar (distorted and ground into aural sandpaper) and one greasy voice. The fact that they can reach a range as far-reaching as they do on ‘Sundancer’ is not just a testament to their ability to create a big-band feel from two members, but a shining example of an alternative way to create music while bands have been steadily increasing in size since Nirvana made three-piece grunge the norm. They take a step back from everyone else and write music reminiscent of the finest artists from Rock and Blues history, with shades of familiarity ranging from Led Zeppelin to Buddy Guy, yet not without a sense of their own Australian roots. But of course, you probably already know this...so what exactly is the album like?

‘Sundancer’ can be described as nothing short of fucking exemplary. From the up-tempo hard-rock highs of single ‘Python for a Pillow,’ to the beautiful, lightly-strung ballad ‘Sundancer,’ the album encompasses the Fumes spectrum and ability to sit as a fine example of their own capabilities. Probably the best example of exactly how capable these two boys from Sydney are is ‘High City Limits,’ the track sitting dead centre at the middle of the album. It’s possibly their finest work yet and one which I can comfortably call the best track I’ve heard released this year. In fact, I’m so fond of it that I’ll play ‘High City Limits’ before I listen to the rest of the album...and that’s a big deal for me. I’m an absolute stickler for preserving the sanctity of the album and the manner in which it was originally written to the point where I pause Pink Floyd’s ‘Dark Side of the Moon’ just before ‘Money’ for 45 seconds to replicate changing sides on a vinyl (exaggeration) which means that ‘Sundancer’ has completely flipped my own philosophy on its head. That’s a big deal...truly, but so is ‘Sundancer.’

The album kicks off with a cheery, carnival-esque overture before the disruption of ‘Who Do You Love,’ possessing the typical energy of the Fumes before the piano introduced ‘Slay The Liar.’ The usage of keys is an unusual move for The Fumes and in part takes away from the charm of an exclusive two-piece, however, it’s moments like these that give the album that little piece of added depth. Similarly, the barely audible female backing vocals on ‘High City Limits’ gives that touch of something extra that makes this album reach past its potential and into excellence. Other highlights across the album include ‘The Letter,’ the only track where the heavily distorted guitar is toned down for lolloping Blues licks and clarity and the country-inspired ‘Psychadelic Warlord,’ harnessing the best of Johnny Cash and the aural hijinx that ran alongside cheesy Westerns of decades past. Add to that the catchy foot-tapper ‘Rogue River Woman’ and rolling, 8-minute long, stoner-rock ditty ‘Seven Year Itch’ and you’ve got yourself one hell of a fine album.

With the release of ‘Sundancer,’ The Fumes are ramping their careers up to phase two. They’ve proven that people will flock to their Australian shows en masse, they’re playing SxSW and they’re big in Japan. The missing piece of the puzzle was a second album that proves that they’re no one-trick pony, and in ‘Sundancer,’ they’ve struck gold. If you walk by this album with $30 in hand, I firmly urge you to put it on the table for this...it’s a very fine album from one of Australia’s artists most representative of the evolution of Aussie rock and a superb addition to your CD cabinet.

‘Sundancer’ is out in stores on May 8th through Kick Music/MGM (Australia/New Zealand.) - Max Easton for soulshine.com.au

The fumes' sophomore record 'Sundancer' begins innocently enough — a thirty-odd second organ and low, dark wah-guitar ditty faintly reminiscent of an evil carnival somewhere that soon bursts into second track, Who Do You Love' with a bottom end fatter than Oprah Winfrey's, a signpost as to exactly where The Fumes are going on this, the follow-up to their critically acclaimed debut, Guns Of Gold. This is a record not for the faint of heart, it's a record for those of you who like your pants to shake with the bass, who like your riffs and the desperation that comes from the deconstruction and subsequent warped reconstruction of the blues form through a stack of amps turned to 1.1 and a drummer who only knows how to shatter things with the sheer power that we've come to expect from this two-piece from northern NSW.

It's been noted ad nauseam in the press that there's only so much you can do as a guitar/drum combo, and of course this is true to an extent, but what The Fumes have done here is — in my opinion as a self-confessed metalhead — jack the ante higher, harder, faster, fuzzier, deeper, dirtier. This is scuzzed out blues rock, and not a re-hash of anything they've done before, but a more mature duo far more confident in their ability to throw out the bells and whistles and just lay down a fat fuckin' groove and ride it to hell and back. And that is what I love about this record, and The Fumes in general — there's no pretence, it's all about making some damn noise, and some fine noise it is too.

Now, not to say the Fumes have strayed from their roots or anything, one listen to 'The Letter' with its rollin' finger picking slide blues undertone allays those fears, as does the piano driven 'Never Gonna Get Back Home', and the 'less grunt, more song' of 'Rogue River Woman' backs that up again. Basically, this is one to play damn loud and to hell with the consequences — excellent second record from The Fumes.

Scanned copy - http://img268.imageshack.us/img268/1364/rhythmsalbumreview.jpg - Sam Fell for Rhythms.com.au

I first saw The Fumes a few years ago in some dingy pub in Sydney - it was a free show and the sound was really bad, but even then it was apparent that the duo was going to go on to much, much more. With the release of their second album, these guys haven't just shored up their place and Australian rock, they've climbed to the top of the stack - and made one hell of a racket in doing so.

The album kicks in with some crazy effects laden guitars, holding a definite carnival vibe before putting holes in your eardrums with a deep fuzz sound so dirty it's almost pornographic. Singer/guitarist Steve Merry's voice is damn near as versatile as his effects rack, switching from a rough shout to twanging sing-song and an almost smooth croon with ease and lots of character. The array of guitar tones and effects used is fairly wide ranging, yet done tastefully, usually returning to the aforementioned thick fuzz, with clean solos over the top of the thumping bass sound template being the norm.

The construction of the album's tracklisting has been methodically handled, from it's rough blues opener 'Fat and Slay The Liar' which give way to a half dozen more rockers until you hit 'Rogue River Woman', which sees the album wind down into semi-acoustic territory before ending on the psychedelic soul blues of 'Seven Year Itch', replete with swirling Rhodes organ sounds and reverb soaked drums.

Scanned Copy - http://img268.imageshack.us/img268/617/austguitaralbumreview2.jpg - AustGuitar

The Fumes, Whiskey Go Go’s The Legs (23.03.07)

…Possibly at other times this review might not have been so harsh upon the Whiskeys, but then The Fumes stepped up, and their complete lack of pretension made the contrast more glaring. No cravats, no shoes and surely no mirrors backstage, the duo simply got up adorned in nothing more elaborate than a beard or singlet and played. And by sweet fuck, did they play!



Having been talked up recently from the venerable likes of fellow Inpress scribe Sam Fell ( I was raving about them six months ago Sam, that makes me six months cooler than you!), word had obviously gotten around, and the by now sold-out East Brunswick Club will surely be opening up the partition next time these guys stomp into town. They were, simply, awesome. Feeding of the anticipation and energy of the congested and responsive crowd Steve Merry belted his way through intricately woven, finger picked steel guitar blues and raw, rabid riffs to the compelling, carnage in control rhythm of Joel Battersby. The go go girls couldn’t contain themselves in the excitement, but having just landed on stage, they were quickly ushered away through the gestures of Battersby. Playtime’s over kiddies, the men are playing some bad-arse music right now.



Whether it be the riff driven rock of single ‘Automobile’ to the more sedate steel guitar twang of Mystery Belle, Merry’s gruff and gravel –gargled voice always maintained the listeners attention, even to the point of having awe-inspired Legs front man MacKinnon down side of stage playing along unplugged like a kid taking notes.



In the time of two pieces vying for attention and beset by dismissive comparisons, The Fumes are simply going from strength to strength, to the point that you’ll have to book ahead next time they arrive in town. The reason for this; they write and play great fucking music. Class over. ‘



Jayson Argall- Inpress (Melbourne)



Another live review on

http://www.thedwarf.com.au/nd/livereviews/melbourne/fumes_the_east_brunswick_club_hotel, scroll to The Fumes







- Inpress - Melbourne

For some reason, the drum-and-guitar duo thing has found some fertile soil in this country. While the energy expended to make just two fill out the sounds means such duos have to work particularly hard anyway, we seem principally adept at having amphetamine blues flavour and lunge to the form. The best of such bands-like the huge racket of The Mess Hall, or the slightly more nuanced Matt Walker & Ashley Davies-also have the songs go with the skill at hitting things. Add The Fumes to the list of good ones.

If anything, The Fumes go even further into the roots blues side of the equation, though that’s not saying they can’t rock it out and make a hell of a noise when necessary. Go listen to the bash and crash of Kingboy or the down and dirty rush of The Dogs, which leaps at your throat about midway through the album.

The delta flavours are due in big part to Steve Merry’s guitar explorations. Going so far as spending a year in the US, including some time under the tutelage of mentor-type Bob Brozman. The resonator guitar is a big part of the sound, but now Merry’s got the finger-pickin’ chops to go with the sliding flash, as in Postman’s Inn, where the intro is carefully worked before he starts chatting his way into the song proper.

Even though there’s the occasional breath of guest saxophone, the nature of the beast means drummer Joel Battersby, as the other half of the equation, has to really hold his end up. And it’s not just about keeping up to speed. On the nicely titled kiss-off of Tell Ya Story Walking, Battersby (kinda good name for a drummer really…) winds rhythms around Merry’s intricacies. While Oh My Babylon has them settling into a groove and working it real well.

Throw in the country sea shanty of Mystery Belle with its ringing tones, or the buzzy Down River, and you’ve got something that is both pretty timeless and awfully well wrought. And live, you reckon they’d do a good job of pinning you to the wall with some style. Ross Clelland 19.09.06
- Drum Media

The fluctuations in tempo and style are one of the albums strengths,…. Steve Merry's deft and intricate guitar work and powerful, bourbon-drenched and cigarette-singed voice maintains the listeners attention whether through subtle or brutal means, where as Joel Battersby is simply one of the most dynamic drummers to beat his way onto the scene in quite a while

- Inpress Magazine - Issue 927 - July 06

Yee-haw!! The steam train’s a rollin’, the horses are restless in the stables, the barnyard has been cleared and the dancers are in place..and the band playing that infectious southern-style soundtrack, full of toe tapping, thigh slapping tunes is none other than The Fumes.

For a two piece, these guys create a voluminous sound that belies their lineup. The gritty, throaty growl of vocalist/guitarist Steve Merry sits so comfortably with his fast paced slide guitar licks. Drummer Joel Battersby is always right on the beat, his snare pounding and driving the songs forward mimicking the rhythm of car cruising along a dusty sunburnt open road. The band have entered the scene at the right time, with folk music rife, and they’re riding on the coattails of artists like John Butler, Xavier Rudd, Ash Grunwald and The Beautiful Girls to name but a few. However while songs like ‘Postman Inn’ brings to mind said artists, tracks like ‘Automobile’ are far more delta blues influenced, and this influence is infused in many of The Fumes tracks.

Though they may not be as accessible to the mainstream as Butler or Rudd, they have much to contribute to the Australian folk movement. An engaging and enjoyable album, that leaves both your toes and your thighs sore by the end. The Fumes have all guns blazing with this rockin’ release! - Brag Magazine

LISTENING to the attack of this Australian drums-and-guitar duo, you start to think that maybe some trios might have one member too many. T
hey cannily open the set with an understated, shuffling guitar and vocal-only blues, Atlanta Rising, that would do John Lee Hooker proud.
From there though, The Fumes seek to asphyxiate all around them with a relentless, muscular contribution to the rocking blues genre that continues to gain aficionados.
Automobile and Run to the Mother are delivered at blistering speed, raising concerns that all that follows might be a deathless onslaught of distorted slide guitar and heavy blues.
However, there are enough shades of blue throughout the remainder to prevent this twosome being cast as a one-trick wonder. They also play mighty tightly.
The challenge for The Fumes from here of course is to continue making driving, engaging music as a duo.
If they can manage that, they'll deserve significant praise.
Being a two-piece hasn't stopped an act such as The White Stripes from consistently making an impression and headlines, and The Fumes are well on track to do likewise.
- The Daily Telegraph - July 27th, 2006 - Brian Bolton

Queens Of The Stone Age, The Fumes @ The Arena, Brisbane (28/03/2008)
Review from Time Out Magazine
A largely unknown proposition for a majority of the audience, fabulously bearded Sydney duo The Fumes amble onto stage with no attitude that could possibly suggest the blistering set they are about to deliver. While their studio output is tastefully aggressive blues-rock, live, they are an entirely different proposition. Stomping work-outs like ‘Automobile’ are hammered into the audience with a power that is humbling in its intensity, whereas driving anthems like ‘The Dogs’ are transformed from ZZ Top to Minor Threat - charging through the audience with all the mercy and remorse of a semi-trailer travelling at 120km/h. Concluding on a jam-tastic rendition of the hyperkinetic ‘Shake Them Bones’, The Fumes leave the stage to the uproarious cries of the converted and, in the process, throw down the gauntlet to the headliners.
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- Time Out Magazine