Gig Review: Filthy Militia Coping Mechanism EP Launch At The Black Heart, Camden 12/2/22

I always enjoy an album or EP launch party. There’s something about them that always seems to add some extra excitement in the crowd and the bands seem to bring that little bit more to their performances. It’s a good time all around. On Saturday the 12th of February, London ska punks Filthy Militia had their launch night for their new EP Coping Mechanism, at the Black Heart in Camden. The band had also invited their long time friends Codename Colin, Easydread and Laurence Crow to play the show. It was set to be a great night.

After finishing work we hurried to the station and made our way to London. Whilst on our way we discovered our branch of the Northern line was closed so would have to find another route to Camden for the gig (thanks for the heads up, Paul). This unfortunately delayed us getting to the Black Heart on time, as well as making me have to hear a busker playing Wonderwall. When we made it into the venue Laurence Crow was already a good way through his set. This was billed as Laurence’s last acoustic show and he seemed to be doing his utmost to make sure that he and everyone in attendance was having the best possible time. From what I managed to catch it, was an enthusiastic and spirited performance. The perfect opener to get the crowd warmed up for the rest of the night.

Next up were Bedfordshire ska/reggae act Easydread. I love Easydread. They’re my local band but this was my first time seeing them in years. There was a time when it felt like I saw them every month. On this occasion they were playing as a seven piece, which included a four person brass section which sound amazing. The band decided to start their set a little early so they could attempt to squeeze an extra song in (spoiler: they unfortunately failed). As it had been so long since I’d seen Easydread, I had forgotten just how much I enjoy seeing them live. The first half of the set seemed to be mostly new songs that they all STILL yet to release – but all sound fantastic. They then finished their set with classics such as Crosshatch Line, Fyah and, of course, Scrotes. It was a great set and I really enjoyed seeing how giddy they all seemed to be playing together again. When a band has as much fun as Easydread did it’s hard for that energy not to find its way into the crowd.

Codename Colin are one of the bands I’ve seen the most amount of times since gigs started to come back. They’re a band we’ve needed as they always bring the party-fun-times to their shows. Despite being a man down and Snowy having to be a one person brass section, they had the same energy and enthusiasm as always. Leaning into the pop punk side of ska, the band get off to a blistering start, instantly getting the crowd on side for a sing-along. To my surprise they played Kelly’s Missing as their second song. This got plenty of fists in the air with that brilliant chorus calling out pay to play gigs. From then on, they stormed through their set, showcasing just how many really good songs they have in their repertoire. They did take the time out to play a brand new song that they are in the process of recording as well as their now traditional cover of I Just Can’t Get Enough which lead to a room sized circle pit. There was unfortunately a moment where frontman Charlie had to ask some of the crowd to calm down slightly as some were getting too rowdy. I felt like he dealt with it brilliantly and the rest of the set went off without a hitch. This was a rare chance to see Codename Colin play a longer set and they absolutely smashed it. Great stuff.

It was soon time for the evening’s main event, Filthy Militia. This moment had been a long time coming for the band. The process of writing songs, doing their Kickstarter funding, recording Coping Mechanism and then finally getting the EP released had been over a year in the making and the band were now about to play the set of their lives. Starting the set with Coping Mechanism’s opener Another Day got the next forty-five minutes or so off to a wild start. It was nice to see the venue so busy and so excited for the set and that excitement only escalated as it went on. As well as playing all of the songs from Coping Mechanism, the band also played tracks from their first EP, Innocent Until Proven Filthy, as well as, the rarely performed live, Jesus. I was fortunate enough to get the EP early because Frosty is a super babe and I’ve been listening to it on repeat ever since so it was really cool to see the songs performed live. All were performed excellently and are making fantastic additions to the Filthy Militia live experience. Filthy Militia are a band that also like to have a bit of fun when they play live. At one point they stopped playing a song (I can’t remember which) to play the theme tune to the classic CBBC cartoon Arthur which got a great reaction. The highlight of the set for me was when they played the awesome Differences from Coping Mechanism. It’s a song about people overcoming the things that set them apart to unite. It’s a wholesome and positive song that feels as needed as ever in the current societal climate and it was great to have a sing-along to it. Despite it being the most complicated sing-along in ska punk. It’s not a classic Codename Colin “whoa-oh” segment that’s fer sho! When a whole room sings along though, it’s a special moment and I can’t wait for the next time I get to experience it. The set was finished in epic fashion with Land Of The Dead. The band were joined on stage by Tom Crabb of Lead Shot Hazard to play guitar so that Frosty could get in the crowd to sing the song. This then ended up with Frosty getting lifted up by the crowd and surfed within a three metre radius of the microphone – that’s how long the cable was. It all turned into a chaotic mess but it was just wonderful to see. Frosty’s best friend Sleeman hopped on stage to lead the chanting finale of the song and in one of the sweetest moments in gig history (maybe) they pointed Frosty out and said ‘that’s my friend’ with so much pride. It was wonderful.

I said in my review of the EP that Coping Mechanism was Filthy Militia taking things up a step. This set proved that they are no longer show openers and could easily find themselves in positions much higher up any ska punk bill and I’ve no doubt they’ll soon be headlining shows on regular occasions. It was a lovely night.

This review was written by Colin Clark. Photos also by Colin.

Album Review: Redeemon by Redeemon

The age old argument of how many tracks makes an album or it’s too long to be an EP is sure to rear its debatably ugly head in December when folk start compiling their end of year lists and have to work out which the self-titled debut from Redeemon is. It’s only five tracks but it is almost thirty minutes long. I’d argue that it’s an album but I’m sure someone will tell me I’m wrong. What we won’t disagree on is that it’s a really bloody good collection of songs from the band.

If you’re unaware of Redeemon, they are the new band forming out of the ashes of former UK skacore favourites Beat The Red Light. Featuring members of BTRL, Smokey Bastard, Junction Of Tiger Street and Voodoo Glow Skulls (recording only), the band are set to finally release their debut on Pookout Records in the Spring. Because Pook is a mega babe, he sent me an early copy for review. Such a babe, have you seen the man’s hair, it’s glorious… anyway, reviewing the skacore time.

We open things up with Operation Burnout. The track starts out with some slow drums before the brass and some guitar begin to build the song up. It also sounds as if there is some violin involved in this introduction. The feeling of anticipation grows massively and by the time we get to a saxophone screech and Pook’s vocals come in, you’re ready to get on this rollercoaster ride. BTRL were known for the heavier vocal growls but they’re not here. Instead we get the more melodic side of Pook. The song switches between theatrical alternative and upbeat ska in a way that you can only imagine these guys attempting. This is followed up by Pressure Switch. After another epic opening – a theme with all Redeemon songs – Pressure Switch shows off the heavier side of Redeemon. Pook’s deathly growls sound as good as ever and the guitars in the first third of the song totally shred. Soon the song switches back to the more melodic style that we heard in the opener. The song switches styles effortlessly and it never feels forced and manages to flow nicely. This is a real testament to the time the band spent crafting these songs. Even towards the song’s final minute, when the band get really quiet and atmospheric, it sounds perfectly placed and the build back up is just wonderful.

Redeemon originally released Anaphylactic as a single to give people a tease of what to expect from the band in the future. It feels like ages ago that it came out and I’m glad to see it make an appearance here. It was the perfect choice for a single as it encapsulates everything Redeemon do so well. Starting with some big brass and some shredding guitars, duelling with one another before coming together as one, until the tempo switches and we get this upbeat horn line that will get even the biggest metalheads having a skank. That horn line is one of my favourites I’ve heard in a long time and it fills the song with some great energy. The penultimate song on the album is titled Finest Mistakes. The band’s metal influences come out in full on this one. It’s one to really get your moshing boots on for and I wish I had a head of hair like Pook to have a proper headbang with. Once again, the guitars and brass sync up perfectly in ways that you don’t often hear. The creativity on display is something you’ve just got to hear to believe. Last but certainly not least is Escapade. I always say that the last track on an album needs to feel epic. I did wonder how Redeemon would pull this off as every other track already has an epic sound. Is it possible to go bigger than epic? Redeemon somehow managed to accomplish this by bringing in an acoustic guitar to start the song. This softer, more vulnerable side of the band came as quite the shock. It’s not long before the band plug back in and some electric guitars and brass begin to accompany the acoustic guitar and the song continues its long build. Pook’s vocals come in and I can’t help but think of Seal’s Kiss From A Rose. It’s a big hook and has plenty of emotion behind it. We reach the halfway point of the song and it’s time for Redeemon to get all Redeemon again with some fast paced upstrokes. This is a song that really showcases what incredible musicians everyone in Redeemon is and it is a very fitting way to finish things off.

You will not listen to a more creative, experimental (in a good way), musically proficient release this year. When I make that claim I’m talking about all genres of music as well; not just punk and ska. This album has been a long time coming but my goodess it’s been worth the wait.

Preorder Redeemon from Pookout Records here (and check out their distro for all your ska punk needs).

You can listen to Anaphylactic on Bandcamp here in the meantime and like Redeemon on Facebook here.

This review was written by Colin Clark.

Album Review: Coping Mechanism by Filthy Militia

London ska punks Filthy Militia release their second EP, Coping Mechanism, on the 4th of February with the help of Pookout Records. After a successful Kickstarter campaign last year, the band went into the studio with Oz Craggs at Hidden Track Studios to record five new songs. Because I’m a very special boy, guitarist and lead singer Frosty sent me an early copy. Here are my thoughts.

Coping Mechanism begins with Another Day. The song starts off with a great drum beat before some brass comes in. This gets the EP off to an energetic start. Then the music stops and some upstrokes alongside Frosty’s vocals start – and he’s almost rapping. This is a new thing and I like it. When the chorus comes in I get some strong Call Me Malcolm vibes which isn’t too surprising given that Filthy Militia are fans of the band and Craggs is also their producer. If you enjoy Malcolm then you’ll also enjoy this. The second track is Differences. This song is pure joy contained in four minutes and thirty seven seconds of music and singing. The track is about how everyone is different but that’s what makes each person special and how we should embrace those differences rather than arguing about them. The horns at the beginning put a smile on my face immediately, like I said – they are pure joy. The opening verse keeps things quiet until the chorus comes in and the tempo is raised. The band are definitely embracing the punk part of the ska punk genre more so than they did on their debut EP. It’s also fantastic to hear the band using gang vocals more – they really give the song a fuller sound.

Beatdown sees Filthy Militia slow things down and enter the world of dub. I’ve never heard the band go down this musical path before and it’s nice to see them spreading their musical wings and showing a bit more variety. The track is about coming together and fighting back against the people that try and hold you down. The more restrained nature of the song really drives home the message that the track is spreading. The penultimate song on Coping Mechanism is Land Of The Dead. Picking the tempo back up, Filthy Militia return to their ska punk sound but also add in some gypsy influence. I’ve seen this song live and it certainly has some Gogol Bordello influence to it. It is a very welcome addition to the band’s live set. The final section of the song features a huge chanting section that builds and builds and is a whole lot of fun! The final song on the EP is Don’t You Look Back. The band made and released a lockdown video for the track last year that you should definitely check out. It’s here. This was the perfect choice to bridge the band’s first EP, Innocent Until Proven Filthy, and Coping Mechanism. The track has more of the ska pop sound that can be found on Until Proven but also has the up tempo edge that the band have brought in for this EP. Don’t You Look Back is about chasing your dreams and not worrying about things that have happened previously. A nice positive message to end a nice positive EP.

On Coping Mechanism, Filthy Militia have really stepped things up another level. I really enjoyed Innocent Until Proven Filthy but Coping Mechanism showcases a band who have spent the last few years growing and improving as a band. I expect this EP will earn the band a lot more fans and propel them on to even bigger and better things.

Filthy Militia are hosting an EP launch show at The Black Heart in Camden on Saturday the 12th of February, make sure you get a ticket and pop along.

Check out Coping Mechanism when it is released on 4th of February and, in the meantime, you can find their previous releases on Bandcamp here.

Like Filthy Militia on Facebook here.

This review was written by Colin Clark.

Album Review: The First One by Andy B & The World

Four years ago, former Fandangle, New Riot and Mr Zippy bassist Andy B set out on an ambitious project to write and record an album featuring musician friends, old and new, from all over the world. The project saw Andy travel all around the world to record the different parts for the album and eventually ended up featuring members from bands such as Reel Big Fish, Less Than Jake, RX Bandits, The Slackers, [Spunge], Death By Stereo, The JB Conspiracy, Random Hand, Lead Shot Hazard and many, many, many more! In total there are one hundred and seventy two people on this release. The album is titled The First One (suggesting that Andy is mad and is going to do this again!) and will be released on Pookout Records. Pook also appears on the album. The First One is also raising money for Centre Point and Music For All. The thought of reviewing such a big project is pretty daunting but, given the effort that’s gone in to putting this together, I feel like the world needs to hear about it.

The album begins with Black & Blue. Unsurprisingly, given the talent featured on the album, this is a pop fuelled ska punk. It’s a great choice to start the album as it’s full of energy and bursting with positivity. It’s about coming together and ignoring all of our differences to fight for a bigger and better change. The song really shows the amount of people who have appeared on the album, the gang vocals sounds absolutely massive and I love them. Up next is Something’s Out. The song starts out acoustically before some horns come in and helps build towards the vocals. After the full on celebration sound of Black & Blue, Something’s Out pulls things back for a song about struggling with your mental health, in particular anxiety. I loved that Andy placed a song like this so early on in the album. Sure the album should be a celebration of unity but it’s also important for messages such as this to be prevalent. I really enjoyed the horns on the track; those short blasts really give the song an urgency that pulled me in. On my first listen through of the album the third song, Protestin’, really stood out. Lead by Cara-Jane Murphy, the song is a political song about the importance of protesting. The song borders on gypsy punk but maintains a ska element. If you were expecting a full on third wave ska album from start to finish here then you’re in for a shock. The use of the gang vocals in the call and response section of the track is genius, giving you the feeling of being at a protest. Fantastic work. The track also features the tenor saxophone playing skills of Dave Hillyard of The Slackers which is pretty cool. Frantic starts out with some horns from Jeremy from Skatune Network and Matt Appleton of Reel Big Fish among others. The list of people on this album really is ridiculous. Ben Hayes and Matt Carson’s vocals sound great on the track. The higher pitch gives it a unique feel that really pulls you into the song. This song certainly reverts back towards the third wave sound but also features some of the most impressive musicianship on the entire album (which really is saying something!), there are some moments throughout the track where Jon Priestley’s guitar really shreds.

Won’t Back Down features a familiar vocal in the form of Karen Roberts, formerly of Chase Long Beach. There’s a band I haven’t thought of in a long time! There’s a fun swing vibe to the song that will get you moving and Karen’s vocals sound as good as ever. The song is another political one about continuing to fight for what you believe in no matter what obstacles stand in your way. Times sees Al Copeland of [Spunge] fame take the lead vocals. As a big fan of [Spunge] this was very exciting for me. This is a bouncy ska punk number than will get you singing along and dancing (in true [Spunge] style). This song feels like a massive party number where you’ll have your arms around a stranger, singing along with joy in your heart. The track is about having a big night out, the self destructive behaviour that comes out and wondering where you should draw the line. The seventh song Don’t Look Back sees a bit of a Fandangle reunion as Andy is joined by former bandmates Tommy Saunders on lead vocals and Ed Starnes on trumpet for the song. It also features Roger Lima of Less Than Jake and MC Lars on the song. And it also features Chloe from Catch-It Kebabs, Tom and Evelyn Crabb of Lead Shot Hazard, Rob of Darko/Lockjaw Records and the previously mentioned Pook among loads of other people in the song. Imagine if Andy could somehow organise all these people to perform live one day, that would be something! The song is about the beauty of friendship and having people who will be there for you whatever happens.

The second half of the album starts with Not Gonna Settle. Jennifer Morrison of Tef London takes lead vocals on this track. It’s a stripped back acoustic ska song that is full of summer vibes. The track is an upbeat and positive song about knowing your worth and striving for the best of everything. This song is full of empowerment and works perfectly in the context of what the entire album is about. The ninth song is titled Follow The Streetlights and features the impressive vocal talents of Tony DiCarluccio of The Main Street Sweep. This track is a modern take on a more traditional ska and two tone style. The song really explodes during the chorus and I would imagine it would sound incredible sung in a big hall. The horns (there are thirteen horn players on this song) add so much bounce and energy to the song and the organ (played by Andy B) gives life to the verses. The punk in ska punk is well and truly brought back in No Righteous Cause. The song starts out with some simple guitar chords that give the song a darker edge before a huge drum roll comes in and the song bursts with energy. The guitars become faster and soon are joined by a catchy horn riff. By the time the vocals come in you know it’s time to party. Billy Canino’s vocals were higher than I was expecting after the intro but they do give the song a different sound. Something great about this is how they make you listen to every word. Advertise This must win the award for the most amount of people on a stripped back acoustic song ever. Richard Narbett is in charge of lead vocals here and gives the song a very accessible pop sound. It’s a catchy song about how people can be affected by the way advertising and the media make you feel about the way you look and how you’re doing in life. How they paint a picture of what is perfect and the mental health issues this can cause people. It’s important for people to remember that there is no such thing as perfect and everyone has flaws. The gang vocals on the final chorus present a great coming together of people and let the listener know they’re not alone.

Change The World is a stand out track on the album for me. Captain Accident takes the lead so you know it’s going to be a reggae driven number. There are also elements of world music that sneak in that work really well within the song. As the song progresses, the band take you massively by surprise as the track changes gears dramatically. It switches from soulful reggae to skate punk and I guarantee nobody listening heard it coming. I absolutely loved it. I guess with this many people working on the album it inspires so much more creativity and possibility. Change The World is about exactly what you would expect – changing the world. It’s a positive song about protesting and fighting for what you believe in. How the song goes from peaceful to urgent is just amazing. The penultimate song on The First One is titled Things Change. Andy B released a fantastic video for this song in the run up to the album's release. This is a full on folk song that is again brimming with positivity. It’s about coming together to try and make changes for the better. There’s a couple of songs that cover this subject on the album and I’m all for that. It’s important for people to know that they can make a change in the world. The gang vocals are the big highlight, with a huge choir of people coming together to sing out the song's important message. The final song, Eleventh Hour, shows off another different style. It starts off with an electric horn melody which was written by Pook before a gentleman by the name of Jake “Project” Brimble begins rapping over the music. Being this far into the album and it still managing to sound different and unique is impressive but I guess not that surprising given just how many people are involved in this album. Combining hop hop and ska punk music always seems to work really well, I'm not sure why there aren’t more bands doing it at the moment. There’s so much energy here that it’s difficult to stay still whilst listening to the song.

The First One is an incredible achievement. The time and effort it must have taken Andy to put all of this together doesn’t bear thinking about. Each song is brilliantly unique but they manage to all tie together and feel a part of the album rather than the album feeling like a collection of songs with no connection. Even if ska punk isn’t your thing, I encourage you to give The First One a chance just because of the sheer size of this project and that it was all done for two very worthwhile charities.

Stream and download The First One on Bandcamp here.

Like Andy B & The World on Facebook here.

This review was written by Colin Clark.