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Ellis Jones, the main songwriter behind Trust Fund, is up to his first full-length album now, following EPs and a split with Joanna Gruesome. No one’s coming for us is sing-song indie pop with a bag of riffs and some occasional noisy bits, all performed to a high standard. Released by Turnstile as an LP with accompanying CD.

  • LP £15.49
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  • TS016
  • TS016 / LP + CD on Turnstile

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No One's Coming For Us by Trust Fund 1 review. Add your own review. 9/10
13 people love this record. Be the 14th!

9/10 Staff review, 11 June 2015

On Trust Fund’s debut album, Ellis Jones takes inspiration from myriad influences: see the urgent powerpop of opener ‘Sadness’– which is deceptively punk- swiftly counteracted by the tame indie pop of ‘Pay Each Other Back’ and the Sarah Records-esque jangle of ‘Essay To Write’. As for initial impressions, it often veers towards the worn out college-rock aesthetic, yet Jones somehow manages to coalesce all of his influences into one record without it sounding derivative, and as it progresses, it doesn’t really sound like anything else out there.  

Both sonically and lyrically, ‘No One’s Coming For Us’ is all the trivial bullshit you have to put up with in your twenties, but from an introvert’s perspective.  Its message is loud and clear, without being abrasive or angry. It’s sensitive and confrontational in turns and evokes sadness in a way that isn’t overtly wallowing, but more often funny and self-depreciating.

The loud/quiet juxtapositions on this LP gives the record nuance; the best example of this being on the stand-out ‘Jumper’, which sounds like a lost Weezer track with its chaotic guitar hooks and predominant drums, while Roxy and Grace’s combined vocals are a welcomed aspect and adds colour to the songs. Elsewhere, the reflective ‘Unwieldy Foam’ is a comparative lullaby in tone, alluding to some of the softer moments of Elliott Smith. Knowingly cheesy at times, there’s enough bite in the noisier moments to prevent it from being overly sentimental.

Perhaps this record was just perfectly timed in terms of my own personal grievances at the point of listening, but over time it’s proved itself to be unfailing no matter what mood I’m in, and it’s this sort of endurance that makes an album ultimately better than most. Ellis Jones probably won’t believe me when I say he is an unsung voice of a quiet generation, but if ever there was a perfect album to get you through times of joy as well as sadness, this would be it.



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