Lately, all manner of gothic and grave-wave electronic acts have been crawling out of their cellars and bedrooms. The scene’s latest addition is Trust, a menacing duo that calls Toronto its home. Their debut LP, “TRST,” is both sonically impressive and sinister.

Band members Robert Alfons and Maya Postepski channel Nine Inch Nails with industrial elements by manipulating synthesizers to give the tracks a mechanical feel. Alfons’ distorted vocals writhe their way in and out of the depressing instrumental elements to raise the drama. The result is a dance album crafted for the undead and a requiem for the world’s ending.

“Candy Walls,” the fifth song on the album, is anything but sweet. Down-tempo synthesizers and drums make for a veritable wasteland of sound. Moaning vocals fill the ether with a sense of paranoia and desperation. Intermittent screeching heard throughout many of the tracks seems to emulate a sort of demonic bird of prey and makes the complex rock album especially haunting.

As if Trust were attempting to combat the demonic spirit that permeates their album, the band throws in a track called “Heaven.” The song sticks with the general theme of the LP and draws from electronic drum kits and repetitious synthesizer arpeggios. Alfons’ vocals continue to be depressed and snarling as they seem to seep into the moaning undertones.

Trust, along with cohorts Zola Jesus and Light Asylum, proves that the grave-wave movement is still alive and kicking. With “TRST,” the band has given birth to an album straight from the bowels of the underworld.