Deliver the bastard child of The Saints, Face To Face, and I Am Duckeye and in your hands you just might have something akin to Shit Tinnies, a band which has just unleashed one of the year’s fiercely enjoyable incitements in the Point to Prove EP. It is an unapologetic slab of feral rock misbehaviour and mischief hosting seven anthemic tracks epitomising why punk still excites.
Sydney, Australia based Shit Tinnies emerged from a conversation between vocalist/guitarist Brit Jam Moore and Kiwi guitarist Braydin in 2017, its line-up soon embracing Serbian bassist/vocalist Stefan Radulovic and Canadian drummer Ryan ‘Damage’ Powers. Last year saw the release of the band’s self-titled debut EP through, as now its successor, Riot Records (the label part of the Golden Robot Global Entertainment Group) and leaving a potent mark as their live shows on their homeland’s punk landscape. Point to Prove has already stirred attention further afield with acclaim riding the recognition which we can only eagerly add to.
The band’s sound is a mix of old school inspired punk spiced up with just as potent essences of skate punk, metal and ska. It makes for a compelling and unpredictable mix which as proven by the new EP, when aligned to attitude and boisterousness just hits the spot. The opening song swiftly proves the point, 301 enticing with a sonic thread which soon leads to the waiting drama of enterprise and vocal incitement. There is a slight post punk edge to the song initially, Jam’s rap tinged vocals courted by predacious chords and stalking rhythms. All the while the song is escalating its energy and punk inclination though leading to an eruption of sound and dexterity just as potent and fascinating. The cycle repeats with greater intensity, the outstanding song laying out the creative palette which makes up sound and release ahead.
It is a compelling and thrilling start to the EP soon compounded by the belligerent animation of Blah. Old school punk and melodic hardcore entangle in its mischievous shuffle, rhythms an harassment of rousing persuasion as guitars equally mass rich temptation with aggression loaded riffs and nagging hooks. A Stiff Little Fingers-esque spicing adds to the greed stoking incitement we swiftly devoured while next up the EP’s title track saunters in with menace and a ska nurtured gait to similarly grip ears and appetite. There is an echo of The Clash to that ska hue whilst its punk based roar has something of CIV to its ferocity and intent, a fusion which as its predecessor left us voracious for more.
Town quickly feeds that hunger with its rousing stroll, instinct stirring grooves winding its eager provocation and energetic swing. Pop and hard rock ensures yet another shade of flavouring adds to the song and EP’s creative canvas, its anthemic contagion inescapable and lustfully feasted upon before Deadline had the body swaying with its reggae lilted punk raw saunter. Unsurprisingly it is a virulent infection which bursts with punk rock rapacity and another song which had us stomping with its insatiable antics.
There is no let-up in quarrel and spirit within the following Quick, the song maybe not igniting our passions as lustfully as those before it but with its punk bearing reminding of bands like TV Personalities and O’Level it has urged numerous returns while bringing the EP to a thrilling close Hey Man with a similar breath bursts upon the senses with a mix of UK /US punk influenced, pop infused truculence.
It is a formidable and imposingly enjoyable end to one fiercely enjoyable encounter, one we seriously suggest you get close and personal with.
The Point To Prove EP is out now on Riot Records across all digital platforms worldwide.
https://www.facebook.com/shittinnies/
Pete RingMaster 04/07/2020
Copyright RingMasterReview
Letter Of Forgiveness instantly erupts in a harassment of invasive riffs and concussive rhythms, its initial trespass soon a purposeful stride through ears with authority and attitude driving every note and stirring step. Straightway the multi-flavoured character of the band’s sound is an open incitement as too the strong presence of Foose’s vocals and the great earthy snarl of Franco’s bass. In truth every aspect of the track proved a magnet for ears, its fusion of metal and hardcore with a classic rock bent a thick lure we soon eagerly chewed on.
Inspired and released by California indie label, Bad Time Records, the Split 7” for us was the introduction of a new band to ears in Catbite and the return of one which had already ignited our appetite with the release of their album No Faith last year. Each of the band’s tracks on the new release are covers; one being a version of one of their companion’s songs and the other of choice.
band the latter was in, Blast Bandits.
The following Anger Is Yours proves just as gripping, its initial start stalking the listener with threat and enterprise before erupting in a more anthemic arousal. Like its predecessor and those to follow, the track carries an unpredictability which erupts in varying degrees but always keep attention and appetite for such adventure well fed. A Megadeth meets Down hues only adds to its hungry lure before Demons Have Demons feeds off nightmares and primal fears for its emerging incursion on the imagination. Again thrash nurtured tenacity is bound in bait loaded grooving, a combination torturous in its addiction and intent as Scapigliati adds additional evil spirit in this great fall from grace intimated encounter.
The rhythms of drummer Serch Carriere and bassist Dries Verhaert perpetually make for a magnetic invitation even as more restraint wraps their baiting of ears as the release’s title track follows. Nevertheless it instantly held attention tight as further aspects add the inescapable beckoning into a waiting deluge of sound and venom. Even that though is aligned to melodic and compelling enterprise, the track a mercurial incitement as savage as it is seductive on body and thoughts. Winding, Guitarist James Falck again weaves vines of sound and threads of grooves around the song’s transfixing length, tendrils which threaten as they lure; the track itself epitomising that feat within its predacious presence.
Their alternative rock styled sound is a tonic of flavours with its alt rock dexterity loaded with the snarl of punk and contagiousness of power pop. Frontier is a four track calling card of its potency and immediately had us grabbed and involved with opener By Your Side. The song is that new single we mentioned, an encounter which instantly flies at ears with energy and relish. Its urgent start momentarily calms for Waterfield’s entrance yet continues to tease of another eruption as energy builds and explodes in a contagion of a chorus. Throughout Green’s rhythms land with purpose and manipulation, a persuasion echoed in the lure of bass and web of guitar enterprise gathered around increasingly rousing vocals.
Rude, Dumb & Anxious begins with the instantly riveting Can’t Get Over You and closed by its even more compelling title track. The opener breaks silence with a plaintive voice within a calm caress of bass. Swiftly Haakaas’ beats are stamping authority on song and ears as bass riffs deliciously grumble and share just as embittered grooves. The melodic holler and subsequent swing of vocals are a contagion in their own right, together it all making for a song which dances with the listeners inhibitions as they flee the occasion whilst roaring with punk endeavour.
Recorded, mixed and produced by Steve Bernard, the new EP opens with the outstanding Behind The Cobweb Veil, a brief but manipulative instrumental opening the curtains on the gothic clad show. Keys cast drama soaked on ears and thoughts in intimation, its theatrical breath as intimate as it is gothic picturesque and a captivating start to the release.