Trust has been sweating it out in underground clubs and on the dark disco scene of the Americas and now it’s Europe’s turn. Swide’s Ben Taylor wanted to talk repression, sexual behaviour and performance.
Trust Music: It’s not all bat caves and goth clubs.
What started off a girl/boy duo project, back in 2009, Trust quickly became the brainchild of one man, Robert Alfons, the Canadian creative that has been getting those that see his live shows caught up in a frenzy of euphoric behaviour. This week saw Trust bring the European leg of his TRST tour close in Berlin and he is now taking it out to American, preparing to take on the underground clubs by storm, once again. The European tour doubled up as the first opportunity that Trust has had to promote his debut LP TRST, now available on Arts & Crafts records.
The LP TRST was released for the UK audience Monday 22nd and has been labelled as the perfect dirty soundtrack for your own gothic sex journey. I’m always happy to go with the flow…
Trust’s latest release Dressed For Space
Here’s what Trust had to say:
Trust is an evocative word, one that is considered positive but also one that has the power to incite negativity. Why was it right for you?
Trust is an important word and theme for me, it felt like a really nice stamp for the name of my band. It’s also book ended by two t’s so works for static reasons.
Synth-goth, dark-pop, dark-wave. People have been pinning labels to your music since you stepped on to the scene. Explain your sound to me.
It’s obviously a lot more than just this label. At moments it definitely is at its pinnacle and dreamy, and then there are low points where it’s personal and a lot more internal. It definitely touches on elements beyond the goth darkness, and it’s definitely a lot lighter and playful. My music comes from thorough enjoyment of a lot of pop music, and electronic experimentation.
You’re a born and bred Canadian guy. Tell me about growing up where you did. Sights, sounds, community, peers etc
I grew up in the Prairies where the sky is always huge and expansive. It’s a really beautiful area which was known for the growth of huge trees. Where I grew up I was very in tune which nature, and felt the effects of each season which definitely affects my creative process and the way I approach making music.
I understand that you worked with Maya Postepski. Who else has been an important part in the evolution of Trust and why?
She’s a talented musician and I was lucky to collaborate with her. I’ve not collaborated with anyone else musically, Other than her it’s just been myself.
TRST was released in the US in February and has now just been released in the UK. What have learned about yourself as an artist since February?
Focusing on the new material I’m writing, its definitely changing and been influenced massively by the live show and by the places that I’ve been lucky to visit when touring.
From US fans to those from the UK. What are the differences in the way that these two audiences relate to your work?
I think there isn’t such a black and white comparison between US and other fans. People have taken a liking to the music in many places where we thought it would be really tough to get people to warm to the music. I think that you can draw both comparisons and parallels between fans all over the world.
Dark glamour and moody eroticism are associated with Trust but there are euphoric moments. The last three minutes of Gloryhole is one of them. Talk me through the concept of the album.
Its definitely gets those moments, where it really shines, and Gloryhole is definitely a good example of where this happens. In the course of writing songs I tend to feel like they’re pep talks for me, little phrases and ideas that are a way of helping me to sort things out.
In a couple of interviews, you’ve mentioned that your lyrics contain themes of sexual repression. Are you still feeling repressed?
Sure, I still feel repressed. It can be very isolated on tour, but my music is the one constant which is my focus and I’m lucky to wrap myself in it completely.
Where are you now emotionally and spiritually in relation to your work when you first wrote and produced the LP? What’s changed? Which tracks feel more relevant now?
Through the course of the live show the songs have had to transform from being initially something internal to being made for the stage- so now my songs I know as being a performance. In particular, Sulk has really ascended into something else from what it was in the beginning, and I have to keep reminding myself of its roots.
It goes without saying that you’re a handsome chap. What’s one of the strangest compliments you’ve received?
Strangest reaction to my music has to be the different variations of sexual behaviour which has resulted from consumption of the music.
I’m coming to your show, what can I expect?
You can expect to come and hopefully see people moving. And this word can mean many different things.
What’s the biggest misconception of you?
Its not all bat caves and goth clubs.
TRST is available now on Art & Crafts Records
Interviewed and Written by Ben Taylor
Tagged with: #INTERVIEW #MUSIC NEWS
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