UMUR "Indulgence" is the second full-length studio album by US, Florida based thrash/speed metal act Nasty Savage. The album was released through Metal Blade Records in February 1987. It´s the successor to the eponymously titled debut album from 1985 and it features one lineup change since the predecessor as bassist Fred Dregischan has been replaced by Dezsõ István Bartha.

Stylistically Nasty Savage have sharpened their blades on "Indulgence", which is a harsher, meaner, more technical, and overall more aggressive (even brutal at times) sounding thrash metal release compared to the thrash/speed metal of the debut album. "Stabbed in the Back" opens the album and it´s a hard-edged thrash metal track bordering proto death/thrash territory, which lead vocalist Nasty Ronnie singing in a rabid dog snarling vocal style. "Divination" is more sharp and heavy, but pretty much continues the hard edged thrash metal style of the opening track. The two opening tracks are definitely among the highlights of the album, but "Incursion Dementia" also needs a mention, as it´s a standout track because of Nasty Ronnie´s high pitched King Diamond influenced vocals. There are other high pitched screaming vocal parts on the album, but that vocal style is generally not the dominant one (other than on "Incursion Dementia").

"Indulgence" features a heavy, intense, and detailed sounding production, which suits the material perfectly. The album was recorded at Morrisound Studios and engineered by Jim Morris (and produced by the band themselves), and while it doesn´t sound like the Scott Burns productions which came out of Morrisound Studios on a string just a few years down the line, "Indulgence" is still a pretty dark and brutal sounding thrash metal release. Upon conclusion it´s through and through a high quality release, and Nasty Savage also manage to put enough of a personal spin on their thrash metal for this to come off relatively unique. A 4 star (80%) rating is deserved.

UMUR "Nasty Savage" is the eponymously titled debut full-length studio album by US, Florida based thrash/speed metal act Nasty Savage. The album was released through Metal Blade Records in August 1985. Nasty Savage were formed in 1983 and earned themselves a name on the local scene by playing some intense live shows and through their well received demo tapes.

Stylistically the 11 tracks on the 43:55 minutes long album is thrash/speed metal with the occasional more traditional heavy metal elements thrown in. Hard edged heavy/thrash metal riffs, blistering solos, and a heavy pounding rhythm section. Lead vocalist Nasty Ronnie is relatively unique and his voice and his delivery are pretty surely an aquired taste. He has a raw vocal style and rhythm to his delivery which belongs in thrash metal territory, but he also performs some pretty high pitched theatrical screams, which aren´t far from sounding like King Diamond. The instrumental part of the music also occasionally reeks a strong Mercyful Fate influence, although it´s in a thrash/speed metal context. The lyrics are time typical with subject like sex, violence, and praise of heavy metal culture. Nothing out of the ordinary there.

The album was recorded at Morrisound Studios, Tampa, Florida, which at few years down the line would become the hotbed of death metal productions, but that´s of course getting ahead of history. The sound production is raw, organic, and pretty well sounding for the time. You can hear every detail and instrument in the mix. So upon conclusion "Nasty Savage" is a good quality debut album by Nasty Savage, but the vocals are definitely a deal breaker. Some will enjoy the unique delivery, and some won´t be able to appreciate Nasty Ronnie´s vocals, and it will have great impact on the listening experience if you do or don´t. Personally I lean towards the latter opinion. I enjoy his high pitched vocal moments, but I´m not too keen on his raw vocal delivery, which often ends on a high register note. It´s sounds pretty odd and unnatural. A 3.5 star (70%) rating is deserved.

UMUR "Wage of Mayhem" is a demo release by US, Florida based thrash/heavy metal act Nasty Savage. It´s the band´s second demo, "Raw Mayhem" being their first. Both demos were released in 1984 and precede the band´s eponymously tited debut full-length studio album from 1985. The original cassette tape version of the demo featured 4 tracks, while the 2003 CD reissue features 6 tracks.

The music on the demo is heavy metal with early thrash metal leanings. It´s raw, heavy, and occult themed. Lead vocalist Nasty Ronnie sings in a rough voice, but also delivers the occasional high pitched scream, and a couple of times during the playing time I´m reminded of Mercyful Fate, but Nasty Savage are generally a bit harder edged and not quite as original. I have the 2003 reissue version of the demo, and I´m guessing it´s been remastered, and that the original version of the demo featured a more raw and unpolished sound production, because the 2003 version features a very well sounding production considering that this is demo material from 1984.

The two additional tracks are new recordings from 2003 as the band reformed in late 2002. So this is a taste of how they sound a decade after they first split-up. Nothing has really changed much though, and the two new tracks are in a very similar style to the material from 1984, although the sound production is slightly more contemporary sounding. The quality of the material and the performances are relatively high and "Wage of Mayhem" is a worthwhile release for fans of the band´s 80s material and fans of raw thrashy heavy metal in general. A 3 - 3.5 star (65%) rating is deserved.

Unitron Graced with an ominous Salvador Dali-esque landscape as it's cover, Nasty Savage's Abstract Reality is quite a unique hidden EP gem in the 80's thrash scene. Creating a perfect balance between technical soloing and pure thrashing rage and moshing, you're entering the Abstract Reality.

The guitar and rhythm section switches between piercing razor-sharp trashing and technical syncopation and soloing, which doesn't sound too dissimilar to what Death would do just a few years later. Nasty Ronnie's vocals for the most part are spitting and snarling, but sometimes he reaches King Diamond-esque falsettos. This is mostly heard on the third track, "Eromantic Vertigo". The preceding tracks, the title track and the punchy "Unchained Angel", are more pure shredding and spit-fire.

The best song on the EP, and maybe the band's best song is the rampaging closer "You Snooze, You Lose". This is a song that's out for blood, slamming the listener to the ground with a downpour of crashing Slayer-esque riffing. This is contrasted with singing guitar solos during the bridge, which are a lot more melodic. When this is all mixed together with some catchy guitar hooks and muscular drumming, it all works as one six-minute thrashterpiece.

The production is a bit muffled, but with music this good, it's not hard to get past that. If you're a fan of raw and caustic thrash, tech thrash, or the later material of bands like Death, this should be an essential listen. While not a full album, sometimes EP's hold a band's finest work. Hope you found this review helpful, feel free to comment!

AtomicCrimsonRush Here is an album that I used to play all the time in 1985, and I absolutely loved it. The vinyl album is long gone now, into that metal tipyard in the sky, but just looking at these tracks brings back so many memories. I loved the way Nasty Ronnie, the vocalist, sung these songs with such power and he had an amazing range reaching very high notes on all the tracks. "Gladiator!" he screams. That's something hard to forget.

My favourite tracks here are the ones with power chord killer riffs and very well executed lead solos. The lyrics were always a factor in my metal days and here was no exception. The awesome power riffing of “Instigator” that fades in on the riff features a memorable chorus; “another fool for the trick, open eye and never lie, you can fight it if you’re quick, another fool for the trick, what you feel, is it real?” The lead solo is dynamic with huge squeals and screaming bends, the way you expect 80s bands to play, then it moves to acoustic mode as Ronnie becomes gentle; “the instigator alters your mind, makes you feel he’s always around.” This is followed by a squeal and then riffs and gallops to the next verse. "Left in pain there to cry a darker soul, you're just a pawn in games of war that I command, sexist moves are gonna prove, what I demand..."

Another brilliant song is “No Sympathy” which I have never been able to get out of my head. The riff is amazing, and once again very strong lyrics; “By the hand she led me to that lonely room, rapture with a kiss, the passion burning heat, gaze into those eyes see beyond within...” the lead break is fractured and innovative. Then the next verse crunches in; “Oh those sweet sweet dreams turn into nightmares, in this place and time, we’ve all been here before, the writing’s on the wall, the sea is of the shore, with mystique mistreater, show no sympathy.” I knew every lyric back in the 80s and I played this 100s of times.

Another track that sticks in my head is ‘Psychopath’; “I’m headed straight for you, I’m in all your nightmares, you haven’t a clue, ha ha! Hey lady remember me, I’m the one who caught you, thinking me of me yeah.” They don’t write them like that anymore. It was all tongue in cheek of course and a lot of fun and I don’t think anybody could take this seriously. You get songs about S & M, bondage, pain, killing, er... death and more destruction that you can poke a stick at. Ronnie loves to scream and this he does in high pitch like King Diamond. He was a pro wrestler and I remember being amazed at his physique for a metal vocalist. Huge muscles and bondage gear. This gave him license to sing about ‘Dungeon of Pleasure’, ‘Metal Knights’ and ‘The Morgue’. These all had silly lyrics but power riffs to bang to.

One of the absolute best was ‘Asmodeus’ with a delightful crawl metal riff; “He was born from the angels, seed of the daughter of men, to travel to heaven to take in discussion to overthrow King Solomon, storm spirit you fill men’s hearts with anger, Aaaaaaaaaaaaaaaaaaaaaaaagh!” I used to love thrashing along to this. The time sig changes mid way through and the pace really picks up with quick tempo bursts of lightning lead and very powerful drumming.

So there you have it. This is a wonderful hair metal flashback to how things used to be. No nonsense riffing, crazy lyrics and themes and a very strong vocal with screams and clear intonation. I was a real fan of this album, it sticks in my memory and so I award it 4 stars.