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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.


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