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After two years of meteoric rise, from a breakthrough on Eurovision and global virality, through the debut album Dmns&Mosquitoes, to a sold-out European tour, Baby Lasagna enters a phase that is not a continuation of success, but a reaction to it. Instead of accentuating the spectacle, he chooses to dismantle his own hype.
The new chapter of his career begins with the song End The Party – the introspective and auditory most intense material to date. The single marks a return to his original identity, the alternative and metal sound that has shaped his sensibility since his school days. This release does not only bring a stylistic change, but also a personal showdown with himself. The new song, which marks an introspective battle, is a public warning to himself.
In the lyrics, Marko openly criticizes the decline of his own mental state and questions his relationship with success, materialism and his own ego. End The Party exposes the fear of transforming into what he once ridiculed, megalomania, vanity and hedonism.
The music video, once again directed by his wife Elizabeta, is the most ambitious production project of his career, but also the last of its kind in this form. The special feature of the video is the participation of fans, the members of official fan clubs, who appear as extras. This way, the line between the performer and the audience is being erased, just as the song erases the line between self-criticism and confession.
“I often say that this is the biggest and most challenging music video so far, but this time it is especially true. After this, we are reducing the production and returning to a creative and DIY approach,” said Baby Lasagna.
After the album Dmns&Mosquitoes, the project which consciously explored different styles and aesthetics, the new material represents a clear decision – the return to the “weird kids in black”.
“Since elementary school, our identity has been those kids dressed in black, with scarecrow shirts — now we’ve completely immersed ourselves in that,” Marko added.
While Marko’s signature humor and irony will remain, the emphasis shifts towards a heavier sound, while the lyrical contrast between self-irony and self-criticism will continue to define the songs. Just like in earlier singles Don’t Hate Yourself But Don’t Love Yourself Too Much, IG Boy, and Bigge Boom Boom.
