Itch is the opening track to the newest Denial Twist EP. It certainly paves the way for the rest of the album. It’s classic rock with a sense of punk with a few little nods to 1950’s and 60’s rock and roll (especially with the effects on the vocal). The track is snappy, upbeat and easy to listen to. I wouldn’t say that there is anything particularly experimental, but I don’t think it really needs to be. It’s classic rock and roll that also sports a fantastic guitar solo (which for me was the best bit of the track).
What I like about this record is that it’s not trying to be anything else, other than just a really solid rock song. I can imagine this would work as a fantastic opener to a gig. For me, this track alone would make me want to see Denial Twist live. It was tight, concise and well thought out.
Sharon Stone? No wait.. sorry. Ok, so this track is a lot more mellow than the previous. It’s laid back approach allows the drummer to hit back some chilled 16th notes on the hats, and the guitars are much less distorted. It’s a welcome comedown from ‘Stuff’ and would have agreed (so far) with this as a running order for the EP.
Yes there are rocky and edge parts in there (especially around the 1:30 mark), but there are some stunning effects on the guitar at 1 min 45 that make the record almost a bit space-age-like. For me, Basic Instinct was very much the ‘summer anthem’ of the EP. Again, the guys have created an easy to listen to rock track that would likely cater for most fans of classic rock. There’s nothing to not like. It being so easy to listen to makes it universal in its potential fan-base reach.
I think the guys have been clever with this one. Whilst I mentioned that it’s pretty chilled. The last 40 seconds or so involves a huge rock out from the guys which leads to a guitar ring out and lots of feedback at the end. It was a pleasant surprise!
Whilst double denim is arguably fashion’s biggest mistake (so I’m told..?) this track is certainly most not. This record is like a combination of ZZ Top, Black Sabbath Ram Jam in its groove. The bass is the start of the show for me in this record. Rather than just staying on the root notes, it often mimics the guitar, meaning the track has a lot more gut and feel to it.
Around 2 minutes 25 the whole track breaks down and its like the guitarist has gone “hold my beer” and goes off on his own mission. It was a welcome bit of prog rock which, for me, was my favourite bit of the song because, when listening, I genuinely said out loud “oh ok” and laughed to myself. It was a cheeky bit of real musicianship from the guitarist which he ought to be very proud of.
Again, just like the previous record, the song ends with the instruments ringing out and that famous bit of guitar feedback.
She Scare Me
The record starts a march on the snare and the guitar paying tribute to 1970’s funk, the wah-wah pedal was hard at work. It was like it could have been a theme tune to a 70;s or 80’s American police drama. It grabbed my attention straight away.
What sets this record apart from the rest on the album (so far) is that this is by far the band’s most experimental. This has been the record (again, so far) that I have listened to and felt less likely to surf the web or do something else during. It had me from the moment it started. It was instantly captivating.
Also, in this track, there are moments where the vocal speeds up a lot. It was borderline rap and I think it really, really worked. The speed was stable but impressive. If I was going to get anyone in to Denial Twist, this would be the record I would play to introduce them.
Even the guitar solo is experimental. It is played on this track so differently to all the others. It was absolutely a welcome change. It was very nu-metal meets (once again) classic rock.
…And before you ask, no. It’s not 5 minutes 21 seconds long.
This is the slowest track on the Denial Twist EP, and probably my least favourite. I’ve never been a fan of the slow grunge-rock scene, but that’s not to say it’s not good.
The track starts with just the bass, vocal and a floor time being lightly touched. Once the guitar comes into the composition, to me, it starts to make a bit more sense and I can sense where the song is heading. I guess, this is the bands ‘epic’. Maybe it would have been nice to hear the use of some other instruments in there too, just to really set it aside from the others as it has such a different feel to the rest of the album.
Throughout the record, there are some pretty haunting vocal’s just tickling the ear drum at a very high pitch frequency. Whilst the song itself was my least favourite, the last minute was probably my favourite part of the whole album. It’s very passionate, dark and gothic with a very cool ending. It’s going to be in my head for a few days after I’m finished with this EP for sure.
The last record is a very short acoustic track, which was a nice little touch. Wrongly, I assumed that it would be another rocky number taking us to the end. Once again, I was surprised by the decision to do this. It was a lovely way to end the album and a very mature approach to finishing an EP. I was just as captivated by this as I was with “She Scare Me”.
I think this 3 piece from Colchester are certainly making the right noises. Yes there might be a few things I would have done in the control room differently in post-production, but actually, the rawness just shows how totally organic and loveable these three rockers really are. I think they’re very hard working individuals, and I’d welcome seeing them live.