Label: IAMSOUND Release date: 20/09/10 Link: Myspace Upon first listen of the Brooklyn-based quartet Restless People’s self-titled debut, you’d be forgiven for feeling slightly confused about what this band is trying to be. Are they a dance group? Are they to be classed in the all-encompassing category that is ‘indie’? The answer is – who cares? It may not be particularly avant-garde or even particularly new but the most over-riding feeling upon listening to this album is that it sounds like four guys experimenting with as many different instruments as they can get their hands on (I count at least eight) and having an absolute whale of a time along the way. This definitely rubs off upon a second and third listen; before you realise it you’re casually dancing around your bedroom and having a great time. And sometimes that’s all it needs to be about. There is a definite sense of carnival to this album, which should probably be expected from a band called ‘Restless People’, but you get the feeling that this band don’t really care about what or who they are, all they care about is that you’re having as good a time as they are. From the Caribbean rhythms of ‘Little Sky’ to the funk of ‘Practical Magic (I and II)’, this is an immensely enjoyable debut release. Album opener and debut single ‘Days of Our Lives’ is actually one of the weaker points of the album, arguably sounding a bit too over-produced and slightly out of place in some ways, but despite this, it still manages to exemplify the party atmosphere of the album as a whole. Closing track ‘Victimless Crime’ is also a intriguing addition, as it is nothing like the rest of the album and sees the New Yorkers transform their sound into a minimalist garage-punk number that harks back to the days of bands such as Television or even the Ramones. It’s not the longest album in the world, only 8 tracks long but sometimes short and sweet is all you need and it definitely seems to work for these guys. If nothing else, the fact Restless People manage to sound like a part of the 70s underground scene and incredibly modern all in the same album is quite an achievement. To be honest my only problem with this band is that they do not sound like any of the artists they believe they are contemporaries of. Phil Collins? Nelly Furtado? I don’t think so. If this band had to be classified, I’d put them down as a strange combination of Miike Snow and Vampire Weekend. There is a slight over-reliance on rave sirens that threaten to ruin at certain points, but overall this is an album that should not be over-analysed and just enjoyed with friends as summer winds down. Photobucket