Los Angeles – One of the best darkwave albums released in 2012 didn’t come out of the goth scene, but rather from a Canadian indie duo under the moniker of Trust. Robert Alfons, lead singer of Trust, proved he could create dark and moving electronic pieces with the band’s debut album, and now with Joyland, he’s shown that darkwave music can stand to be a little bit brighter as well.

With Trust’s sophomore album, the duo became a solo effort, as co-writer of the first album, Maya Postepski, opted to focus on her other synth pop project, Austra. Despite what some might consider a minor setback, Joyland is entirely Alfons’ project, and the sound is as equally compelling as its predecessor.

Joyland starts with “Slightly Floating,” a track that sounds exactly like its name. From the get-go, the album’s atmosphere is soft, quiet, and quivering, as if afraid of its own power. The song sounds like a discarded M83 B-side, or at least until Alfons glazes his smooth, baritone vocals over the track.

From there, the album erupts into a Tim Burton prom night: it is nothing but dark, gritty synth pop throughout the record, with nearly off-key chords that constantly squirm and slither under the vocals. The tracks are made for a discotheque, albeit it one where patrons sluggishly move to the beats instead of all-out dancing. All the while Alfons switches his voice from grim and unintelligible at his lowest tones, to joyously carnal in his falsettos.

In fact, Alfons’ vocals are literally half the magic of Trust, as his vocal range is impressive and still as equally refreshing as the debut album. It’s unlike any singer out now; smooth but slithery; enticing but grating.

In Joyland, he utilizes the falsetto in nearly every song. It works for the most part. The most interesting thing about Trust is that this brand of dark electronic music tends to walk a very fine line between melodic and cacophonous. The title track, for instance, relies too much on a distorted falsetto that the result ends up sounding like gimmicky 80’s cheese pop.

The lead single, “Rescue Mister,” can go either way, skirting the edge of cheese and competent synthpop. Some may find the heavy use of distorted, high-pitched vocals to be too abrasive. Despite the potential pitfalls, there are songs like “Are we Arc?” that are a perfect blend of what Alfons has to offer, and summarization of Trust at its best. “Are we Arc?” demonstrates synthy finesse, bringing a multidimensional atmosphere again that Alfons created from the beginning.

If there’s a word to accurately encapsulate what Trust is, it’s nostalgic. The debut channeled old-school darkwave, piquing interests in music aficionados in the electronic scene and goth scene. Joyland is TRST’s complement, the happier sophomore sister to its sulky younger brother. This time, she’s channeling kitschy 80’s new wave. But she’s consistent, strong, and just as seductive as her predecessor. Joyland proves that there can be beauty even in the gloomy.

For more on Trust, go HERE

Photo By Seth Fluker