Review by Vladimir on September 3, 2024.

Looking back at all the classic bands that I checked out in my thrash metal teen years; it was pretty much impossible for me to not come across something cool to listen to. Such is the case with the Florida band Nasty Savage, which despite their numerous attempts to get back on track, still managed to remain quite relevant and strong in the world of old-school extreme metal. Things would take an interesting turn when their new and upcoming fifth full-length album Jeopardy Room was announced to be released on October 4th, 2024 via FHM Records. This seemed like a great opportunity to dive back into the world of Nasty Savage, especially because it’s their first album in 20 years, and also their first album since their reunion in 2016. Shall we enter the Jeopardy Room and see what lies beyond? 

After passing through the 'Invocations' as it sets the stage for Jeopardy Room, we are beginning to face mayhem in the good old ferocious spirit of Nasty Savage, and funnily enough, this is but a taste of the forthcoming destruction that we crave for. Once again, the band provides some nasty and heavy thrashing riffs with banging drums and Ronnie Galletti’s intense vocal performance, expressing an incredible display of musical fury that invokes this dark and intimidating atmosphere that flows throughout every track on this beast. Speaking of atmosphere, there are a couple of tracks that particularly stand out for their gloomy vibe, and I must say that this one is a pleasant surprise that is more than welcome. First is 'Southern Fried Homicide', which is great for its eerie acoustic riff and the slow build-up that transitions into this aggressive monstrosity that preys on the innocent, but you also get the heavy mid-tempo banger that is 'Witches Sabbath' that won me over thanks to its wicked riffing and intense band performance as a whole, and for me personally, this one really kicks ass. If these two weren’t enough, then you also get the delightful apocalyptic 'Aztec Elegance' which lets you know that this album really doesn’t even think about slowing down or taking a break before going back into action, instead it’s just a constant headbanging extravaganza that will eat you alive. For the horny and horned fans out there, you will probably enjoy the ninth track 'Blood Syndicate', which contains some female moans on top of the heavy thrashing riffs and this one might blast your cannons with pure joy and delight. Another interesting inclusion on this album is the instrumental track 'The 6th Finger' with probably the most intense riffing on the entire album, but it also contains a very technical bass solo in the middle that spices things up just right for the finale of Jeopardy Room. Speaking of the grand climax, the final track 'Sainted Devil' is truly where it all comes together nicely, as this headbanging badass rams it down with its powerful closure, where it all collapses and leaves the world in ruins. 

The songwriting on this album is anything but simple because the song structures are very complex and well put together with its dynamics that it just doesn’t leave any empty space for lackluster delivery. Something that highlighted this album for me is the fact that it manages to nicely balance out aggression and atmosphere, where you get to experience two for the price of one, and the best thing is that the two really contribute a lot to the overall progression of Jeopardy Room, without ever losing its edge. The overall progression of the album can be easily described as “the further it goes, the heavier it gets”, and it certainly does get more interesting during the second half when it’s gradually taking things to the next level with its maniacal direction. I know it might sound childish of me, but considering how this album successfully managed to awaken my teenage self when old-school thrash metal was all I ever needed, I can’t imagine not being entertained by this simple yet effective delivery that just makes you want to punch a hole through the goddamn wall. Even though there is a strong stylistic consistency throughout every track on this album, the good thing about it is that there isn’t any template-based songwriting or copy-pasted song formulas that are just there for the sake of filling the gaps, and I really have to give credit to Nasty Savage for not letting me down. Considering that Nasty Savage has been around for donkey’s years and that their three albums from the 80s are still loved by many, it’s just great to see the band being very true to its roots and keeping it cool after 4 decades of existence, and the other great thing is that Nasty Ronnie is still kicking ass with his vocal performance because I have a feeling that he barely aged or hasn’t aged at all. The cover art for Jeopardy Room does seem a bit perplexing at first, but it’s actually very reminiscent of their classic works such as Indulgence from 1987 and Abstract Reality EP from 1988 with its otherworldly and alien in tone, and it feels like a stylistic hybrid of works by Salvador Dali and Jean Giraud (aka Moebius), but overall, it’s truly fitting for Nasty Savage. On the final note, the sound production is really good on Jeopardy Room, and it feels like an old-school album represented through a modern scope in terms of its execution, but nevertheless it does the album justice. 

I personally found Jeopardy Room to be a very exciting and engaging thrill-ride of an album that can take you to various places with its solid riffing and generally good songwriting. It’s safe to say that in the end, Nasty Savage proved themselves that the band is back in action and they are still in their prime, meaner and tougher than ever. If you really love these guys, then don’t miss out on Jeopardy Room, because it will be a blast of an experience. 

Rating: 8.5 out of 10

Review by Felix on September 1, 2024.

As a metal fan, you like to indulge in illusions. A legendary name returns? Wow, that must mean we'll get another album as great as the one in the early days of the band. But this form of premature mental indulgence is sometimes shattered by reality. Anyway, if I am already talking about “indulgence”, it's not far from Nasty Savage. The band has reformed once again... No, it hasn't. This is where we fall victim to the next illusion because we're talking about the return of Nasty Ronnie, but nobody else. No original member supports him, four new comrades do a technically clean job. At least there's another very appealing cover on offer, typical for the band (and therefore absolutely atypical for the scene). With that said, Jeopardy Room is visually more attractive and closer to the trademarks of the legend than Psycho Psycho, their rather mediocre comeback album from 2004.

Nasty Ronnie’s sonorous voice is still charismatic, but he gives a wide berth to the sharp screams and high-pitched melodic fragments that he used to incorporate into 'Gladiatooor', 'Incuuursion Dementiaaa' and many more classics. Okay, that’s no big deal. It’s a loss of variety and trademark, but it speaks for authenticity and the will to partially reinvent himself. Moreover, in view of the fact that he is the last survivor of the golden eighties, it is only logical that his voice builds the strongest bridge to the past. But the new savages also connect themselves with the past by the re-recording of 'Witches Sabbath'. This track originally appeared on their first two demos, but it never sounded better than here. It is full of an ominous, almost Mercyful Fate-like atmosphere, it holds great riffs and discreet keyboards that send shivers down the listener’s spine. Its intro alone is better than the entire discography of some “new hopefuls” who lack individuality and songwriting skills.

Anyway, to wallow in the past alone does not give you the right of existence in 2024. Of course, Ronnie and his four new vicarious agents are aware of this. They deliver ten new titles, one intro, and nine regular tracks. 'Brain Washer' was the advanced track and its bulky riffing, its screaming solos, a few parts straight and the rotating double bass pick up some typical Nasty Savage elements. A slightly psychopathic touch is created and Ronnie’s barking in the chorus underlines the pretty insane feeling. 'Brain Washer' is no new 'Abstract Reality', no 'Hypnotic Trance' or 'Asmodeus', but a good number that indicates the previous strengths of the band. 'Aztec Elegance', is also equipped with a somewhat horrifying intro and turns out to be another cornerstone of Jeopardy Room. Stylistically, it could be a leftover from Indulgence, the bass drum is intrusive again in the best sense, the guitars follow cranky, excellent lines and only the chorus is not as expressive as it should be (but still a good one). These three tracks alone are reason enough for me to be happy about this comeback, even though it is a very dubious one with regard to the line-up.

This is not to say that the remaining tracks suck. Sometimes the band forgets its competence to create almost progressive, Toxic-esque riffs, and therefore songs like the title track appear a little one-dimensional. It doesn't even help that a “Satan in high heels” appears in the lyrics, which brings to mind the bondage lyrics of the great ‘XXX’. By contrast, 'Blood Syndicate' is more convincing with a few lustful tones from a young lady sprinkled in. Her contribution lends the powerful, honest, quite sinister, and more or less clean production a small number of light spots. Nasty Savage did not make experiments, neither in terms of the mix nor with respect to the song material. This is not the work of some hired musicians, but of seemingly convinced metal freaks who know the meaning of Nasty Savage’s legacy for the thrash scene. Just like Hallow’s Eve or Dark Angel, they never stood on the same level as Slayer or Testament, but from my point of view, this is just due to a malicious, always unjust fate (especially when I take a look at Testament...). But let me come back to the new quartet at Ronnie’s side. The dudes show their dedication with the surprisingly exciting 'The 6th Finger', an instrumental in the tradition of the unforgettable '?'.

So it’s true, Jeopardy Room cannot challenge Indulgence or Abstract Reality successfully. There are two or three tracks that remain flat and comparatively expressionless ('Schizoid Platform' is one of them). But Jeopardy Room reminds us of the spiritual note that Nasty Savage brought into thrash metal and it enriches the catalog of the band with a handful of new, great tracks (the short 'Operation Annihilate' should not be forgotten when it comes to the album’s highlights). Musically 7.8, but with a small legend bonus it can also be rounded up to 8.0. And although the record doesn't sound like the last gasp of an aging leader, I would be surprised if this wasn't the final work of this great name. So let’s indulge in this work.

Rating: 8 out of 10