It’s the album form of what 50 Shades of Grey is falsely advertised to be – a space that introduces consensual danger, the heat of the taboo, that lets you inhabit the feeling of violating and being violated, the initial temptation and the inevitable boredom that comes with pushing boundaries, the resulting need to push further – like an addict or a pioneer, who knows? This is heady stuff, and it’s the debut of the band that’s nearly impossible to Google without getting in trouble:
It’s 18+ and their debut album Trust.
The duo successfully hid their identities for a year, using that mystery to propel their popularity. Their second single used crow calls for percussion. They’ve existed anonymously online longer than they have as an identified band. Their album is just as slippery to pin down.
Trust is an album about the suggestion of violation. It’s incredibly unclear about where the line between consensual fantasy and that violation starts and stops. The music itself is about the relationship between control and the lack thereof. How much is fantasy, how much is reality?
It’s not about what’s hidden in the dark just out of your sight. It’s about the experience of stepping into that dark and feeling terror give way to intrigue.
“And his bed was made,
his hair was for you.
The heart was broken, nah,
but there was nothing to do.
But you gon’ fuck it.
Baby gon’ fuck it.
Pretend that you’re happy,
I’m alone as hell,
then let’s go in circles
and then I was here,
but baby you were my world.
Sex for the wishes,
pretend that you’re happy.”
How much of this is conviction? How much is roleplay? The tone is intentionally opaque. Is it enjoyable? Is it boring? Is it torturous? Is that enjoyable? Is it enjoyable for one and not the other? Is it loving then? How much of the control is given away, and how much is taken? The album’s name is Trust – that tells us the territory being explored and, rather than giving us a safe and reassuring answer, 18+ communicates the fine balance on which that trust hangs.
The album’s informed by the same attitude that defines the excess genre (whose narco swing patron saint remains Lana Del Ray). It doesn’t seek to judge an experience from the outside or assess it for the listener. Instead, it seeks to inhabit the experience for a time, to let you see it from the inside out. To do so, it sits uncomfortably on the precipice between electronica’s tight control, R&B’s natural flow, and the dangerous (or is it tempting?) freedom of avant garde.
There are occasions where that avant garde goes overboard. It’s difficult to like every song on the album, and that’s why it’s in the top 35 and not the top 10. It’s essentially a concept album full of singles, which doesn’t quite form a full listen. Still, what it can communicate in the space of a three-minute track is nearly unparalleled, and it’s a hell of a lot better made, more enjoyable, and more…well…accurate than 50 Shades.
– Vanessa Tottle & Gabriel Valdez
Feeling dangerous? Read our entire rundown of the top 35 albums of 2014.