For the first album review of 2026, we are diving into the debut full-length from London-headquartered seven-piece ska punkers Filthy Militia!

Having previously released two EPs since forming in 2016, Frosty and co have long graced the spiritual base that is New Cross Inn – and beyond – with their bouncy, humour-laced tunes about unity, life and conflicts in an increasingly divided world.

With their first full album High Ground, out on the 23rd January via Pookout Records, the band expands on these themes while incorporating dub and heavier metal elements.

So without further ado, let’s get into the review! (That rhymes. Ew.)

1. 24-7

Opening track ’24/7′ laments a current hypercapitalist landscape that thrives on “selling each passing moment by the pound”.

“Morbid curiosity” is cited as a major reason for being sucked into masses of advertising and clickbait. The overriding tempo is slower than on other tracks on ‘High Ground’, fittingly depicting a slog until a lovely little guitar solo, complemented by ever-present brass and sax, tries to snap us out of it.

As someone who’s seen the band live on so many occasions, I find the ‘woah-ohs’ in the chorus to be an utterly anthemic proxy for the relief of letting go of a long-standing rut that’s plagued everyday life.

2. Making Myself Clear

A battle cry of horns kicks off the third single to be released ‘Making Myself Clear’, which discusses a quest to go “anywhere but down” – and we’re not talking a fear of heights, either.

Amidst warnings that certain people are lying to themselves about the state of current politics, a dirty little breakdown commences that introduces those aforementioned metal influences, before Frosty and co slow things down briefly to emphasise their stance.

The ending bridge questions whether a certain companion “is all who you are”, urging them to save themselves from further warping their perspective on the world they live in.

3. I Don’t Know You But I Love You

The first single to be released from High Ground picks things up again (heh), tempo-wise and mood-wise.

‘I Don’t Know You But I Love You’ explores the feeling of making and hanging with various new friends at gigs and fests, but simply being unable to “put a name to the face” – due to the effects of recreational substances, or otherwise.

Underpinned by their typically bouncy ska stylings, the song includes some banging backing vocals alongside typically dancey brass.

4. Anywhere Here Is Fine

A more dubby tune now to discuss here; ‘Anywhere Here Is Fine’ explores the strong possibility of “feeling lost”, anxious or unsatisfied with new surroundings.

Urging listeners who may experience such feelings to “take a breath and sing”, there is a prominent notion that it’s ok to write off the present and try again tomorrow.

The bridge once again plugs into metal influences, and features some sick horn solos.

5. Splitting Hairs

‘Splitting Hairs’ is a real skanker of a track, and talks about the need to make the best of a world that doesn’t prioritise the welfare of the average person. The overall message is to not lose sleep on those who won’t listen, and fight for better in your own way, when ready.

The song advocates being an honest reflection of one’s self on a regular basis, in the face of “your worst enemy” often being “closer than they appear”.

Frosty really demonstrates the pipes he has in the bridge, which also comprises of successive, rousing woahs amidst headbang-compelling drum fills. The ending reprise chants with determination “I won’t say sorry for living my life”.

6. When The Party’s Over

The upbeats and doots continue into the next song, ‘When The Party’s Over’.

With an almost funky chorus that you can tell the band had particular fun comprising, the song discusses an attempt to keep distance from disagreements, in order to preserve mental energy.

The bridge initially slows the beat right down, depicting the despair of begging “I don’t know you, I just want to go home”, before speeding up as if to sprint away from this disagreeable, nameless antagonist.

7. Liability

‘Liability’ greets us with some solo bass, before everything else kicks in again, and addresses mental battles with social anxiety that can arise with plans made with mates.

Advocating for transparency and welcoming the opportunity to make it up to said mates, the chorus provides the invitation “Call me a liability, and I’ll call you a friend”, while accepting accountability when ready to hear it.

The speedy bridge gives the whole brass/sax section (‘horn section’ feels a bit odd when they so rarely include actual French horns. Or other nationalities of horn. Or does it? 🤔) individual chances to shine, which is lovely.

8. Never

Rightful frustration at the current political climate and online discourse is the theme of the mosh-worthy penultimate track, ‘Never’.

The second single to be released takes aim at those who simply cannot move past “rose-tinted” nostalgia, or stop manifesting “regurgitation of your mobile screens”.

Its bridge brings in distinctively layered backing vocals from across the band, vowing that “we won’t entertain it” and repeating that the values of others who think differently “isn’t up to you”. On first listen, this felt like a kind of sequel to ‘Differences‘, where room for tolerance towards ignorance has understandably since shrunk.

9. High Ground

The title track closes this release out, and is the longest on the album at over six minutes. With its initial fast tempo from the off though, it flies by.

Preceding offbeat guitar strokes and horns (screw it, I’ll just say horns from now on, I’ve given in) is the question: “What have you done to make yourself proud today?”. From here, further interrogation is aimed at those in power, regarding their purpose beyond maximising profits, while refusing to “sympathise anymore”.

An extensive outro features unadulterated skacore jamming and sick drum fills, along with combined clean vocals and screams of “You cannot break us, this is the higher ground”.

Closing Remarks

As someone who has seen Filthy Militia’s sets live on numerous occasions, I can say this release amps up the ante, musically and lyrically. It’s clear to hear the group blossomed while transferring some of these tracks from live stages into the studio, while writing others from scratch.

Overall, if you’re a fan of the likes of other ska punk bands like Call Me Malcolm, Codename Colin and The JB Conspiracy, this release is sure to be worth your time.

So, yeah. ‘High Ground’ comes out on the 23rd January, with the band launching the release with a show at New Cross Inn on the 13th February. Many thanks to Frosty for the greatly appreciated early access, and to the band for an awesome listen.

And, of course, thank you (yes, you!) for reading! Up the Posh, and up the Punx 🤘