Album Review: Nasty Savage - Jeopardy Room
Reviewed by Gareth Pugh
It’s been quite some time since we’ve heard new music from Florida thrash legends Nasty Savage, twenty years to be more precise and 2004’s ‘Psycho Psycho’, which itself came fifteen years after the third album; 1989’s critically acclaimed ‘Penetration Point’. While ‘Psycho Psycho’, was a solid enough album, many felt it was a bit of a letdown when compared to the almost legendary trio of the first three albums. Personally, I thought it was an excellent return, and the biggest change was Nasty Ronnie’s vocals, the high-pitched work of yore was nowhere to be heard, but the riffing was on point, and the songwriting still strong and creative.
So how does ‘Jeopardy Room’ match up? Well let’s see what first impressions give us, the cover art is in the same surreal vein as second album ‘Indulgence’ and the ‘Abstract Reality’ EP, with odd floating eyes and weird landscapes, and amazingly the artwork was created by artist VanDercar (who sadly passed away 35 years ago or more). The artwork for ‘Jeopardy Room’ was acquired by Ron reaching out to VanDercar’s grandson, so straight away there’s that connection with the past and the old nostalgia juices started flowing. Unfortunately only Ron himself is present from the original line-up, although drummer James Coker was briefly in the band circa 1992, the others; guitarists Dave Orman and Pete Sykes, and bassist Kyle Sokol are all newish post 2018 additions, so it’s astonishing that the band sound so faithful to the original sound of the 80s and 90s version of the band, while also keeping it contemporary.
Diving into the music, ‘Invocations’ is a creepy, bass led intro that transitions directly into the brutal title track, with its serpentine riffing it's immediately noticeable that the band are taking no prisoners, and despite the changes in personnel, we are getting the authenticity of a genuine Nasty Savage album. OK, like ‘Psycho Psycho’, the high vocal screams are absent, but the low-end snarl is as good as it ever has been. Next up is the crunching ‘Brain Washer’ with its persistently pummelling double bass drum onslaught and the massive hooky refrain of the chorus.
The curiously titled ‘Southern Fried Homicide’, with its judicious use of acoustic guitars throughout and its ambitious arrangement, is an early highpoint. Nasty Savage always managed to blend the melody of power metal with the aggression of thrash, and ‘Jeopardy Room’ is no different, take the pulverising ‘Operation Annihilate’ and the adroit instrumental ‘The 6th Finger’, for the heavier side of things. They also had a knack for throwing the odd experimental riff or sections into the proceedings to mix things up a bit, and ‘Aztec Elegance’ is a perfect example of this with odd timings and audacious songwriting.
Also making its first official appearance is old demo track ‘Witches Sabbath’ which is a dark, doom-laden number, with a sinister feel, complete with what sounds like a church organ and it’s great to see it finally making it onto an album, and with guest spots for the Tardy brothers from Obituary no less, who were greatly influenced by Nasty Savage. The only misstep is some questionable female backing effects on the otherwise excellent ‘Blood Syndicate’ which I’m sure is supposed to sound scary and frightening, but actually comes across as a bit sleazy, and I’m not sure that was what the band was aiming for. All is forgiven though with the destructive album closer ‘Sainted Devils’ and its relentless wall of riffage and quirky lead guitar.
The album also sounds great with the production handled by long-time collaborator Jim Morris, at the renowned Morrisound studios. It really is great to see a band with such a revered legacy making new music forty years after their original demo tape, that whilst not bettering their old classics, certainly compliments the back catalogue, the new members have bedded in nicely and the songwriting is very solid, the riffs are heavy, inventive and memorable, allowing Nasty Ronnie to do his unique thing. Let’s hope it isn’t another twenty years until we get Savage again.
