As the title suggests, this album is heavily influenced by both George Orwell’s “1984” and Aldous Huxley’s “Brave New World”, but has a concept of it’s own. The story follows a rebellious young individual, initially belonging to an allegedly anti-establishment subculture, who after some tragic events has a clash with reality. He learns about his ancestors, and the position of his generation in today’s society. The expression of his rage by attempting suicide is interrupted by the outbreak of a new fake war.
This changes his mind – he is going to take his destiny into his own hands. However, his efforts to organize a mutiny and change the war-struck system fail and he is captured by the authorities. Unlike in Huxley’s novel, there is no father figure (no Mustapha Mond) at the end to guide him through his demise. He is taken to a Ministry of Love kind of institution and locked up in a dungeon where he self-examines himself and questions every decision in his life. Searching for ways to ease his suffering, his mind drifts away into abstract thoughts about the nature of reality, consciousness and existence itself.
At this point, the concept of “Danse Macabre” emerges, he finds comfort in the fact that his captors will eventually share his fate. His “transcendence” is interrupted by the guards who take him to his final destination – Room 101. There he is stripped of every last bit of humanity, dignity, and identity. He is forced to become what he hates the most. A fate worse, or equal to death.
The music depicting this story is fast, intense, angry, but melodic and structured at the same time. It’s the product of many years of writing and refining while still retaining that raw edge. All aspects of the album are produced by the band itself, preserving the authenticity to the maximum.
1. Crash Course in Life
2. Toys in the Attic (Introduction)
3. The Underdog League
4. A (Suicide) Letter to Humanity
5. Blood Honey
6. No Mustapha Mond
7. Château d’If
9. Escape into Reality
10. Danse Macabre
11. The Odyssey to Room 101
The nucleus of this band dates back to 2005, when Đorđe Luković (guitar and backing vocals), Marko Danilović Tihi (drums) and Luka Matković (guitar and lead vocals) formed a band at a tender age, hailing from Belgrade, Serbia. After the break up of that band, Luka and Tihi formed Fatality and their partnership continued throughout the years, when they finally joined Space Eater, a legendary Serbian thrash metal band, in 2009, in which they were joined by Đorđe, just a few years down the line.
Under the Space Eater flag, they toured Europe twice, recorded two albums (“Aftershock” and “Passing through the Fire to Molech”), played the legendary Exit festival, etc. With more than enough experience under their belt, the three members decided to leave Space Eater and form a band of their own, recruiting yet another old acquaintance, Miloš Tomasović (bass guitar and backing vocals).
In 2016 the four members settled upon the name “Quasar-born”. While their musical roots are still firmly rooted in the late 80s thrash metal style, there is a lot more variety this time around, with influences creeping up out of numerous genres (such as death, black and heavy metal, classic and progressive rock, and even some jazz and ethno).
Besides the music itself, what Quasarborn really takes a lot of pride in, is the fact that that they are a DIY band. Their music is recorded and mixed by Luka (for Citadela Sound Production) and Tihi is the one responsible for all the visual material. Quasarborn’s debut album has just been released and they have playing shows throughout Europe (Exit Festival and Revolution Festival Timisoara, among others). So stick around and embark on the odyssey to Room 101 with us!
By Kostas Dahmer.