the Restless
Reviews
17 March 2005, Rip it Up [Adelaide]
25 January 2005, Rave Magazine [Brisbane]
27 October 2004, Beat Magazine [Melbourne]
25 August 2004, InPress [Melbourne]
21 July 2004, Beat Magazine [Melbourne]
24 June 2004, MX [Melbourne]
21 April 2004, Beat Magazine [Melbourne]
21 April 2004, Beat Magazine [Melbourne]
21 April 2004, InPress [Melbourne]
The Restless
Interview by Ellaina Brooks
17 March 2005, Rip it Up [Adelaide] ~ Issue 821
In the midst of a national tour, Mick Young is short on time. His band, the Restless, is riding on a wave of Triple J and Channel V exposure. Add to the mix airplay throughout the UK and Canada and positive press reviews of their latest album. Times are clearly changing for this Melbourne-based folk-rock band.
Formed during 2000, the Restless was the result of a merger between a folk duo and a rock trio. Whilst studying music, lead singer and guitarist Mick Young met drummer Ryan McCluskey. He then encountered Melisa Collins (violin and keyboard) while performing Irish music in a seperate band. Following the departure of an original member, Mark Drysdale joined the Restless, filling the bass player vacancy. Currently touring in support of their new self titled album, the Restless have secured valuable airplay. The album and the bandŐs singles were selected as Richard KingsmillŐs King Pick for Triple J, in their respective weeks of release. The video for single, Pace, has been broadcast on Channel V and Rage. BBC1 and College Radio throughout Canada have also playlisted tracks.
As the bands principal songwriter, Young names Nick Drake, The Beatles, Leonard Cohen and his father, singer and drummer with Dingus Magee, as key influences. He reflects on his approach to songwriting. I generally come to the band with a song and then they fleash it out. My approach to writing is mostly from feelings. I find something on the guitar and I get a feeling about it. Some nonsense words and a melody usually follow. Then they gradually transform into something that makes sense to me or captures a feeling. The band's first two EPs, Fear of the water [2001] and Clayfire, Burn Your Day [2002], were recorded in a few days. It is a far cry from the Restless, which required more time to develop. Signed to the small, independent record label, Cavalier, the Restless produced the album in the label's studio, with the assistance of engineer Justin Skim. We got to spend a lot more time recording and mixing this album, which allowed us to experiment with arrangements and sounds and basically try a lot of different things out. There was very little pressure in the studio. We were very relaxed. Maybe too relaxed, however, as a little pressure can be good for you. I don't think our style has changed much though. Everything depends on the particular song that we are working on at the time. We don't really think in terms of style.... more in terms of what works for a particular song, Young explains.
Pace EP Review
25 January 2005, Rave Magazine [Brisbane]
Emotive Balladry from Melbourne four-piece. Fans of the under-appreciated but frequently wonderful Augie March might find plenty to like in The Restless's music. Vocalist Mick Young has a similar timbre to Augie's Glenn Richards, albeit with a more direct melodic sense. The stately title track opens proceedings strongly with acoustic guitars and a twisting melody nudging you gently along. But Barbed Wire Fences is even better with its touches of violin, tremolo guitar and Young's intensely melodic but unpredictable vocal. But the best comes last - Once Upon a Football Field is a simple voice and guitar tune that's as bittersweet and sundappled musically as it is lyrically morose: 'my vacant stare conceals a lofty weight/I've been forced to bear/it comes from God knows where'. Neither as willfully obscure as Augie March nor as straightforwardly sentimental as, say, Neil Finn, The Restless's music falls enticingly somewhere in between.
Brett Collingwood
Pace EP
Review
27 October 2004, Beat Magazine [Melbourne]
Hailing from the Augie March school of poetic honesty, Pace hits you squarely in the soul from the opening chord. It's strange how this type of intense, emotive balladry seems detached from the norm these days, in a scene that is more concerned with manicured facial hair than cohesive, timeless arrangements. The reassuring, almost comforting beauty of the Restless acts as an antidote, an oppositional reminder, for the faux-attitude, denim clad virus which continues to infect our streets.
Daniel Z
the Restless - self-titled
Review
25 August 2004, InPress [Melbourne] ~ Issue
829
With so much insincerity to sift through these days, it has become a survival tool to be able to mercilessly block out any emotional fabrication. Our bullshit detectors have evolved into state-of-the-art radar systems, capable of picking up the slightest artificiality. Alas, with our blinkers so narrowly set, we too often shrug off genuine attempts to reach us, ignoring that which we so desperately search for - just a little honesty. So it was lucky that in a rare moment of vulnerability my ears were first graced by perennial balladeers of truth and sincerity, The Restless.
This self-titled, full-length album stands testament to all the positive aspects of the human condition. From the first strum you are welcomed into a world more trusting and understanding, a warm handshake allaying all fears. Can of Worms opens up the album with a confident march through life, toting words of wisdom: "Sometimes you have to open up a can of worms/to let your love light squirm". In the same vein as Augie March's Maroondah Reservoir, this sets up the tone for the next forty-something minutes of musical meanderings. Singer Michael Young breezes effortlessly from velvety croons to confident vocal plateaus, accompanying each piece with a poignancy too refreshing to be insincere. Lower Nature, a shuffling little country ditty, has some of the most beautiful lyrics strung together with seamless poetic flow and displaying a child-like candour one cannot help but be charmed by.
And so this spectacular offering by The Restless rolls on, through song after beautiful song, impressing at every turn. By the end of the album, I realised there had not been one let-down, not a single below-par moment from beginning to end. Each track retained its own glow, its own unique and inspiring essence. Blending wistful melancholy with charming naivety, The Restless open their arms to us, baring their soul in the hope that we may too bare ours. In this instance, coaxed by the warmth of their honesty, I have no option but to let my guard down and listen.
Danny Miscellaneous
The Empress (live review 26 June)
21 July 2004, Beat Magazine [Melbourne]
I was an Empress virgin until Saturday night, so hadn't been there in its booming years, before the loom of sound restrictions. But it's a cozy little place, the deep velvet reds and moody lighting adding to the ambience. And to be honest, it was kind of nice to be somewhere listening to a live band but being able to hear someone asking if you wanted a drink. That's always a bonus. And the line-up was well suited to this low-key venue.
I unfortunately missed most of Too Many Cars' set, arriving just as they were doing the last couple of songs. They were pretty cruisy, from the snippet that I heard, easing the early arrivals into the evening. They were closely followed by Laura Jean. As more people arrived we were treated to a beautiful, occasionally heartbreaking solo vocal with acoustic guitar accompaniment. Her vocal was reminiscent of Juliana Hatfield, and although she looked like a little girl lost, even on that reasonably small stage, she grabbed my attention, and was an excellent warm up for The Restless.
Looking extremely happy to be there, the foursome picked up the pace immediately. With wide-ranging influences like the gorgeously deep-toned Leonard Cohen, Billie Holiday and Rickie Lee Jones, it's easy to see why they are so named. I've listened to their self-titled album and thoroughly enjoyed it, but this was different. After seeing them live it's credible to say that the album doesn't do them justice. With the gorgeous melodies and haunting (but not intrusive as is sometimes the case) violin, and the most energetic bass player I've ever seen, their enthusiasm and obvious enjoyment of playing live was contagious. As poetic and profound as the lyrics are, there's the possibility of veering towards the morbid, but the folk influenced rhythms and melodies keep you tapping your toe and slipping into the song as you would a much-loved winter coat. What I loved most was that the whole band chipped in vocally at one point or another, which shows how well they work together. The lead vocal was fantastic, and extremely versatile, helped by the variety of styles in the songwriting. And I also admired the quality of his excellent sideburns.
Overall, the night was thoroughly enjoyable; I didn't leave with my ears buzzing, just a warm, fuzzy feeling; even in the biting Melbourne winter air. On a final note, I wish my music teacher at school were as funky as Mark Drysdale, dancing bass player extraordinaire. And while we're on the subject of dnacing, drummer Ryan McCluskey's mum can pull a few moves too. Soon appearing on a podium near you. Watch this space.
Sophie Griffiths
the Restless
- self-titled Review
24 June 2004, MX [Melbourne]
Restless by name but not by nature, this self-titled debut from the Melbourne-based quartet is full of harmonic vocals and touchy, light guitar. Think Jeff Buckley meets the Underground Lovers with a dash of Something for Kate. Violins play a pivotal role and the haunting By My Hand brings a dramatic close.
Tori Minter
the Restless
- self-titled Review
21 April 2004, Beat [Melbourne] ~ Issue 907
As the name suggests this band will not let its music lay idle. And neither should it, with its haunting lyrics and beautiful guitar, cello and violin melodies. Listening to this album has been an experience to say the least. It was like opening the most intimate, personal pages of someone's diary and allowing its poetic words to flow through amazing, spine-chilling harmony.
For a band that has only been together for four years, the unique rhythms and musical melodies reflect that of a longer, greater established group. I guess they've simply got it.
This is their third CD, and with two previous EPs to their credit this is an outstanding effort for their first full-length album.
With sounds reminiscent of Paul Dempsey, Neil Finn, Daniel Johns and Jeff Buckley, this insight into the lyrically fascinating world of the Restless is unbelievably raw and real.
With personal dedications throughout the album - "Michael, row your boat ashore" and "Theo, can't you picture her?" (Nature Whispers Her Secrets to Me) - you really need to listen to the lyrics, with the words in front of you, to get the full experience of its evocative messages. Just as you study a work of art, this album needs thought to understand the beautiful conclusion and artistic value.
These songs are a mixture of tearful and happy memories of places explored and people past. Credit must go, amongst the band as a whole, to Michael Young - songwriter and lead singer, whose poignant words and voice complete the melodious picture inside the listener's head.
It is definitely the folk poetry of the lyrics that makes the unique sound come together for the Restless. From opening a Can of Worms, to seeing Just Old Buildings and ensuring nothing will "compromise with the devil that's between my thighs" (Lower Nature), everything said is strikingly and meditatively composed.
In truth I do not think I can give this CD the reviewing justice it deserves. If you like thoughtful lyrics and hauntingly beautiful sounding music I definitely suggest you listen to the Restless" self-titled album. The experience is intense but rewarding and I just want to hear more...
Jessica Ball
the
restless are just kids from the country, mick young tells frances mariani..
21 April 2004, Beat Magazine [Melbourne]
~ Issue 907
Mick Young, vocalist and guitarist for Melbourne four-piece The Restless, comes from the old school of lyric writing. His words have a poetic quality. Inspiration for his lyrics comes from the usual sources - his life and the world around him - but also from literature. "I don't listen to a great deal of music. I've got, you know, a few things that I listen to alot...I do have a broad range of influences as far as styles go," explains Young. "With the words...it's just a turn of phrase that can change the whole mood of a song. It's not even so much what's said, it's the way it's said."
The release of the band's self-titled debut brings a whole new swag of lyrics to the listener. Recorded over a 12-month period, the album is the follow up to the folk tinged EPs Clayfire, Burn Your Day and Fear of the Water. According to Young, the album is similar to the band's previous work although they have opted for more instrumentation this time around. "It's just a bit more lush, I think. There's more on it, we had more time. The other two EPs were done in a couple of days and we sort of laboured over this one".
The Restless have been together since January 2000. Funnily enough, the band got its name from a pun on the soapie title The Young and the Restless, when it was changed to Mick Young and The Restless. Jokes aside, Young claims the band's name has some meaning behind it because the band members are all restless souls.
"We're four very different people and it's very interesting in the studio or working in a band in such close quarters with people when you're very different. It's difficult when people have very different ideas of what they want and I think that's why the band works, because these four different perspectives come together to make something; hopefully something unique.
But one thing the band members do have in common - they're all from different towns in Country Victoria. "When we all came to Melbourne and started doing gigs, [it was] really exciting. You know, 'Wow, I'm playing a gig in Melbourne' sort of thing. Whereas, I think if you grow up in the city maybe it's not quite as exciting", says Young. "Whenever we do a gig it's sort of still exciting for us 'cause we're just kids from the country you know, who are excited about music and excited about playing. And I think that - well, we hope [that] comes out in the music because we love playing."
the
restless embrace a healthy music philosophy. "We just get up there
and enjoy it," Melisa Collins tells Glenn Cartledge.
21 April 2004, InPress [Melbourne]
If there is an interchange bench in band land, Mick
Young of The Restless has retired to it. Originally scheduled to spruik
the merits of his band's self-titled debut release to Inpress, Young politely
called me the night before our interview to advise me that violinist Melisa
Collins would be subbing for him.
"He just thought he'd share it around a bit," says the amiable
Collins the next day. "He did one on Friday and he thought he'd let
me have a go. We have that much respect for each other musically and on
a personal level, it gives me the chance to say the opposite of everything
he said the other day!"
The Restless is a new-ish Melbourne group with folk leanings. The band
released two EPs before committing to an album.
"The last two [releases] were self-funded but for the album the
guys at Cavalier are looking after us. We've got a bit debt! Hopefully
my grandchildren won't be paying for it..."
If things were good and right in this world, The Restless would need not
worry about such things. The album is an immensely listenable piece that
rewards repeat listenings. Whether by design or otherwise, the songwriting
shows great versatility. Arrangements are rarely predictable and instruments
are used in unique and thoughtful ways.
For her part, Collins loves the options that her violin brings to the
songs. "It's a really versatile instrument. You can get a wide variety
of sounds out of the instrument and I try to use it as creatively as possible.
On the song By My Hand, the harmonics on the violin give it an eerie,
spooky sound."
The variety of songwriting on their debut album makes it hard to pigeonhole
The Restless. Pace recalls the perfect pop of Crowded House while the
sparse Row Your Boat Ashore matches Stephen Cummings' darker moments.
Elsewhere, Winter's Dull Light could have been penned by Tim Rogers while
Lower Nature proves that the band is able to loosen up and have a bit
of fun with its lyric of male fidelity. Under duress, Collins tries to
explain The Restless' sound.
"This is really a tough question - I think - for any musician. We're all fans of really good songwriting. We're all so different it's hard to define. My background is classical and folk but we're all from different backgrounds. It's a radio-friendly sort of sound. Some of the darker elements are a bit Leonard Cohen. We just play because we enjoy it. We're not trying to prove a point or anything. We're not trying to take a political stance. We just enjoy playing together. We're playing the best that we can. We've all worked hard - we've all been playing for a long, long time. Personally, I'd pay for a chance to play with these guys such is the love and respect I have for them. It sounds wanky but I'm just an old hippy! If anyone says, 'What do you sound like?' or 'How would you describe you music?' it's hard. There are elements of folk, I guess with a violin and an acoustic guitar it kind of leans towards folk because of the instrumentation. It's too hard a question! People have to form their own opinions really."
The Restless will be playing two sets at the launch of the new album this coming Saturday at the Rob Roy, one of which, uniquely will be the album played in full. Collins seems unperturbed about playing such a big number of new songs back-to-back. "Usually when we play live we play our favourite stuff and our newest stuff and we've been playing alot of the stuff on the record alot more in gigs and alot of old stuff as well", she says. "We play often and we know each other well. There's no stage-fright or anything. We just get up there and enjoy it."