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Since the beginning of his career, Elvis Costello has wisely maintained a producing partnership with fellow musician Nick Lowe. Because both men share a mastery of power pop composition, phrasing and an economy of language, the collaboration has always been proper for Costello's style.
With the release of Costello's Trust album, the pair's taste in composition is once again superbly apparent. Longtime Costello fans may be disappointed with this album's lyrical edge, however. Costello's words attack fewer conventions and offer less-timely terror to the listener.
Trust instead conveys the melodic, graceful side of Elvis Costello. That side has been obscured by the commotion of most of his previous work — torrents of lyrics mixed to a usually furious backing track, courtesy of the Attractions.
Gracefulness becomes Costello. Like the tensions of his previous work, the melodious elements of Trust intrigue the listener. The most recognizable change has occurred in instrumentation. Costello's familiar and tacky electric organ lines have been replaced by a fuller-bodied acoustic piano. When the organ appears, it is only as an embellishment for the piano.
Conversely, Costello uses bass guitar more heavily than ever before, mating its power to the piano's. From the confident counterpoint of "Pretty Words" to the honky-tonk country 'n' western swings of "Different Finger," Costello has arranged a variety of newer rhythms. The variety continues with "Shot With His Own Gun," a flowing, orchestral dialogue between bass and piano, to which Costello narrates a melodrama of love and revenge.
The acetic edge of Costello's work, however, has not disappeared completely. Cuts like "You'll Never Be a Man," "White Knuckles," "Big Sister's Clothes" and "Strict Time" still demonstrate some of his biting writing talents. The same tunes also incorporate his sassy lead guitar lines of the past, which compete with a feverish percussion. This is the old familiar tension, and its inclusions make the entire album more exciting.
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