Last year American broadcaster Paul Gambaccini claimed rock music was dead. Fans were understandably irate. Classic Rock magazine even penned a well written article full of factual statistics that disproved the smug Yank's nonsensical assertion. However, here's a better way to make that point. Simply take Mr Gambaccini's head, gaffer tape it to a Marshall amp turned up to a volume that would please Nigel Tufnel and blast this rollicking début album from Leicester power trio Skam down his auditory canals. Within seconds of hearing their bludgeoning hard rock repertoire the self styled 'Professor of Pop' will not only admit he was wrong, but that his opinions on music are total and utter.........
Skam are a throwback to a time when musicians honed their craft playing live, wherever and whenever. Traversing Britain in a clapped out transit van - often doubling as both vehicle and hotel room - they've clocked up over 160,000 miles in order to play more than 350 gigs throughout the length and breadth of the UK. The hardened road warriors are lead singer and guitarist Steve Hill, bassist Matt Gilmore and Ray 'X-Ray' Peverill on drums. Since forming three years ago their relentless gigging has garnered many fans, leading to a support slot with The Answer and The Union, playing to over 10 000 people in the process. With dues paid and lessons learned it's no surprise this rip-roaring début disc sounds so full of confidence and self-belief.
'Soldiers Of Rock' launches the album in style, delivering a rabble rousing mission statement full of subversive intent. Iommi-esque power chords charge forward into a blunt force riff as the band attack with a restless vigour, striding through verses that repeatedly declare 'I believe this country's gone to hell' with cojones the size of earth threatening meteors. The call to arms refrain is steeped in rebellion, as Hill declares 'we're the minority, not the majority – if you don't mind I'm taking it back tonight', before launching into a high octane solo that's full on shred. 'Dead From The Waist Down' displays a latent anger reminiscent of Therapy? with sharp stabbing blasts of distortion and sinister drum beats, whilst a barrage of Detroit rock attitude galvanises 'No Lies' via a defiantly strutting, cocksure riff that pulses with an arrogant peacock pride. It's a storming anthem - catchier than a plague in an elevator and full of cracking hooks.
The band's heroic execution of battering ram riffage is top drawer throughout, from the propulsive, spiralling grooves of 'Massacre' to 'Weapon's wah-wah drenched boogie, as Skam joyfully ape a horny 60's rock & roll combo who've fallen in love with supercharged distortion. Then 'Touch of Death' kicks like a vengeful mule, riding a galloping Iron Maiden rhythm towards a stomp kicking shout out chorus reminiscent of early Metallica. Despite being in thrall to the greats of yesteryear Skam aren't all about the past. 'Frustration' rumbles along with a sludgy 'Superunknown' Soundgarden vibe whilst 'Hold Me Down' finds a Foo Fighters hook taking flight over a contemporary punk rock soundscape in the vein of Bad Religion.
It isn't all break neck bluster. 'Going Away' is an epic musical journey beginning with gentle blues licks over shimmering cymbals. Steve Hill's impassioned vocal and delicate harmonies during the refrain are beautifully stirring, to the point it's almost a clichéd lighter in the air moment. Then it breaks down and the foreboding bass of Gilmore builds to a mighty cacophony as a gripping Rage Against The Machine funk-rock riff hurtles out the speakers with a shit kicking power that is simply stunning and suggests Skam are easily capable of pushing the limitations of the conventional power trio.
Not everything works. Some of the melodies are forgettable and at times the vocals sound a touch muddy. Steve Hill's voice is also divisive and not what you'd expect from this kind of music. His delivery is miles away from the primal roars of Robert Plant and Bon Scott, displaying a gum chewing, colloquial street smart swagger more like Kasabian's Tom Meighan. This may alienate some, but paradoxically gives Skam an idiosyncratic sound by adding a modern layer to their classic rock template.
Sounding like a New Wave Of British Heavy Metal Band playing Black Sabbath songs with the nuclear ferocity of Motorhead, this album showcases everything that's timeless about the indomitable spirit of rock music. It's an old school shot in the arm, played with utter conviction and boasting chainsaw guitars, crashing drums, electric solos and all the experience gained from working countless crowds on the live circuit. Let's just hope 'It's Come To This' isn't a destination so much as a beginning, because if Skam iron out the minor kinks and build on this promising start they could well go far.
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Skam are a throwback to a time when musicians honed their craft playing live, wherever and whenever. Traversing Britain in a clapped out transit van - often doubling as both vehicle and hotel room - they've clocked up over 160,000 miles in order to play more than 350 gigs throughout the length and breadth of the UK. The hardened road warriors are lead singer and guitarist Steve Hill, bassist Matt Gilmore and Ray 'X-Ray' Peverill on drums. Since forming three years ago their relentless gigging has garnered many fans, leading to a support slot with The Answer and The Union, playing to over 10 000 people in the process. With dues paid and lessons learned it's no surprise this rip-roaring début disc sounds so full of confidence and self-belief. 
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