QUASARBORN - The Odyssey To Room 101

Quasarborn - The Odyssey To Room 101

11 songs
49:51 minutes
***** ***


Four years ago, Serbian thrash metal band Space Eater released their third album Passing Through The Fire To Molech to universal acclaim. Back then the band consisted mostly of musicians from a band called Fatality that only joined Space Eater some time along the line. Two years later, these musicians left, leaving the bass player alone, and recruited another bass player to form Quasarborn, a band in which they wanted to broaden their horizon to other genres than their old school thrash metal. The idea was to play a more progressive kind of metal.

Truth be told, with three quarters of the band, including the vocalist, coming from the same band, you shouldnít expect such a huge change. In the essence, we still get fast paced thrash metal with a healthy dose of speed metal, although the guitar work is occasionally more playful than in the past. The music reminds me at times of Destruction circa Mad Butcher and Release From Agony, whereas the vocalist sounds as if he could also be part of a Nuclear Assault tribute band.

Back then, I gave Space Eater a maximum rating of ten points, because their idea of old school thrash metal couldnít have been done any more authentically, and whereas Quasarborn do most of their duties quite flawlessly, the album could have done with a little more dynamic tension, and the few moments where they try to change the mood donít work too well. The album begins with the instant thrasher Crash Course In Life, an ideal stomper that should set the mood for what is to come, but is then interrupted by the frankly dispensable intro Toys In The Attic, which might have been ok at the very beginning of the album but as a second tracks robs the album instantly of momentum. Another such example is set with the instrumental Transcendence, played mostly on classical acoustic guitar, but feel in the end a little too cheesy.

Apart from that, the songs themselves are really good interpretations of late Eighties thrash speed metal that should appeal to every fan of bands like Nuclear Assault, Destruction and Holy Terror, just to name a few. The concluding title track is at eight minutes the albumís longest song at eight minutes, and possibly also the bandís attempt to steer their music into more progressive waters. I donít like the monk choir vocals in the beginning, but apart from that the four guys prove that they are just at ease at longer structures than they are with their more concise material.

The surprise element with which Space Eater caught me in 2014 has gone, but that doesnít mean that the entirely self-produced and self-released The Odyssey To Room 101 is a weak album. On the contrary, this debut is a promising start of a still young - or rather new - band, consisting of members that have known and played music with each other for many years, and I am certain that they will in time finetune their progressive thrash metal.

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