Future Crisis Klub Present New Album 'Future Crisis Klub'
Kris Degaust calls his five-song project Future Crisis Klub, which is a
group/album title with more weight because it was at least partially
created during the pandemic. It was, indeed, a ‘present’ crisis at the
time. Although Degaust’s Canadian band resume (he fronted Good Nite
Irene and Rabbit) may not include household band names, this latest
effort drew vaunted producer Joe Chiccarelli to helm it. Chiccarelli’s
worked with A-list acts, like U2, The Killers and Elton John (to name
but a few) in the past. The result is a small batch of edgy songs.
One titled “The Refugee” is driven by a crunchy electric guitar part.
Although Degaust has a bit of a grunge rock past, this one features a
relatively bright, driving groove, which contrasts with grunge music’s
many times sludgy rhythms. Then with “Admit It,” one can hear keyboard
sounds augmenting its heavy guitar riff. Throughout the track, Degaust’s
voice is strong and in control.
Degaust saves his quietest moment for last, as the confessional “I Was
Wrong” closes out the album. It’s a lovely but sad song. Lyrically, it
is the sound of Degaust taking responsibility for things that went wrong
in a relationship. While quiet at the start, this one eventually builds
up to a powerful, louder finish.
The album’s opener, “Wrecking Ball,” has a slight U2 feel running
through it, as Degaust sings some of its chorus in a high voice. It sets
an ominous tone, as Degaust warns of a wrecking ball that’s coming for
the one he calls ‘baby.’ Perhaps this is for the wrong done by Degaust’s
partner in “I Was Wrong.” It takes two to Tango, after all. It also
includes plenty of noisy guitar rock and may also remind you of vintage
Gothic music from the ‘80s.
In contrast to the rest of this project, “Beautiful and Obscene” is a
bit on the sparse side, arrangement-wise. Once again, it gives us a
chance to hear the higher register in Degaust’s voice. It isn’t clear
what or who Degaust is singing about with it, but it includes more
Degaust self-reflection. At one point he admits, “I’ve been beautiful
and obscene.” These words reveal his straightforward honesty. He’s not
perfect. He has both an upside and a downside, just like all of us. It’s
one of the album’s longest cuts, too, and features a relatively
extensive instrumental outro.
Yes, the pandemic likely influenced the mood of this project. Any artist
that isn’t impacted by the situation in the world around them is a liar.
However, one is left with the impression Degaust is more concerned with
troubles of a more personal nature here. You can’t really blame a
pandemic for a relationship failure. Humans are pretty good at breaking
each other’s hearts, even when times are good. Then again, a world
crisis can seemingly make struggling partnerships look even worse. It’s
difficult to make love work when it feels like the world just outside
our door is crashing all around us. Indeed, this is emotionally charged
music, from beginning to end. If there’s really a future crises club,
you probably shouldn’t join it. Better, by far, to hear Degaust put it
all to music, instead.