TRUST

Frozen pavements and Arctic winds; dry ice and blackedout basement clubs; pulsing metallic rhythms tempered by narcotic lethargy and lashings of pulse-quickening euphoria.

Half Eurohouse and half haunted house, the debut album by Trust, titled ‘TRST’, as our faddy vowelphobia currently demands, is the latest in what’s
become a long string of records inspired equally by the sharp lines of primitive electro and the murderous theatrics of goth.

Among others, we’re talking Salem, Zola Jesus, Crystal Castles and Toronto band Austra, whose drummer, TRUST

Maya Postepski, was once one half of the band whose original and sole remaining member,TRUST


Robert Alfons, is this afternoon’s interviewee. Since its release in early spring, the album has been gently gathering pace and turning heads, pleasing the ears of all those who, yes,

like a bit of goth and yes, like some dancing, but are allergic to the crushing scenesterism of the sprawling genre that we might as well call witch house.

Now touring the album without Postepski but with two extra hands on synths, Alfons is in London as part of a European tour, TRUST

which includes last night’s show at the Shacklewell Arms and a performance out in the artists’ enclave of Hackney Wick.


Arriving at a studio in north London’s soon-to-betrendy Manor House, Alfons cuts a slender figure,

encased in black from neck to boot but otherwise quite unlike the affected gothic scenester you might fear him to be.

Softly spoken and obliging, he appears to be enjoying that fleeting,
happy moment that belongs to a band on the cusp of something,

whether success or failure, when touring is still a holiday and interviews are just like hanging out.


“I love coming [to London],” he says. “People have been receptive, which feels great. I’m flattered because there’s definitely some sort of intimidating vibe going on here – or maybe that’s because I’m quite sensitive…”


Growing up in Winnipeg in the middle of the flat Canadian prairies, Alfons was always something of an outsider, keeping himself to himself and disappearing into music, particularly the European pop on his family’s
record shelves.

“I think I was always kind of a loner as a kid,” he says, noting that Winnipeg’s music scene offered little for a teenage Pet Shop Boys fan.

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Author: ปราณี