Earache Records
April 17, 2026
https://earache.lnk.to/YouGotThis
Skindred are a band who have never shied away from voicing their concerns and grievances through their music. While said my some to be bordering on being political per se or overtly opinionated, frontman Benji Webb also never backs down from from confrontation, allowing his music to do the pummelling with an infectious swagger that is almost impossible to resist.
Despite releasing thier debut album Babylon in 2002, it wasn’t until Skindred‘s eighth and most recent album Smile that the world universally gravitated towards their hybrid sonic output of punk, reggae, ska, metal and pop sensibilities, earning Skindred long overdue recognition with awards such as Best Alternative Music Act Award at the MOBOs and also Best UK Act at the Heavy Music Awards.
While it would be tempting – and even plausible – for Skindred to rehash the winning formula of Smile for their new album You Got This – which comes out on April 17 – one gets the strong feeling that Benji would say bollocks to that, let’s turn shit on its head even more!
The opening – and title – track, You Got This, fizzes to life with a short spluttering of sonic vibration before an electronic voice reiterates the message of the song as a wicked guitar riff courtesy of Mikey Demus entices Benji to the fore as he sprinkles his eppervescence over the track.
The electronics spit and snarl haphazardly in the background to add an almost sci-fi touch to proceedings but it’s the continuously pounding guitar riff that is central to this song. A breakdown of sorts midway through pulls things back a touch as Arya Goggin goes tribal on the drums to create an all encompassing song within a song which is only disrupted as Benji lays his elegant touch once more.
This track is typical Skindred with sporadic timing and tempo changes offset by harmonious chorus and eclectic musical interplay, setting the remainder of You Got This up for yet another frolicking descent into the madness that breathes life into Skindred‘s music.
Can I Get A stasrts with a breezy keyboard intro that eases into a laid back and calming track that allows Benji to glide into stride. It has the feel of a lazy Sunday afternoon under a coconut tree while a bartender pours Pina Colada’s and cocktails while the ocean ebbs and flows in the background.
It is perhaps one of the most consistent musical pieces I have heard from Skindred which is even more proof that this band refuses to be stereotyped. Their musical disparity is not borne from a desire to confuse the living fuck out of us, it is more an expression of each band members musical psyche, which is even more apparent after listening to what would be a fully fledged crack at radio acceptance by most bands, but in the hands of Skindred is yet one more layer of their sonic evolution.
Born Fe Dis opens with a swirling guitar riff that folds back on itself before turning into an aggressive reggae infused number complete with soothing passages that only serve to accenhtuate the message. Benji spits his vocals with a more rapid fire intent that is tempered by the more balanced underbelly that is completely shattered when he delivers a rap/reggae infused breakdown that ushers in a heavier direction once more punctuated by the tough as fuck guitar work of Demus.
This Is The Sound shuffles to life before a chunky guitar riff introduces a swirling of emotions offset by some delicate harmonies. Benji soon takes over as a chorus of harmonious chants of ‘this is the sound that makes me go crazy’ act as a challenge of sorts to Benji as he counters each moment with a firm assertment of intent that serves to back up the earlier claims.
Things take a turn into rougher waters as a breakdown of hostility threatens without coming to fruition, serving more as a further foot to the throat delivered by whatever sound it is that makes Skindred go crazy.
Broke is next and starts with an acoustic flutter before congas creep into the fold in what starts off as a fun, whimsical reggae led tale of woe. But even when singing about the shortfalls of life such as being broke, Skindred finds a way to add an upbeat disposition to the bleakness with a quick shuffle of drums or a splash of melody that shines light on even the darkest of topics. Very much fun.
Glass follows, and sounds like another congo led passage of music that oozes swagger and warmth. Benji alternates between his reggae style delivery, throwing in a handful of sung pieces that highlight the musical diversity at his disposal.
The first real guitar solo on the album makes for a welcome surprise, but Glass is very much a vehicle for Benji‘s vocal talents, and feels for the most part lik it could be a song that is personal and close to his heart, which is only exasserbated by a beautifully tranquiul piano outro that fades gently into the distance.
Big Em Up kicks off with a splattering of electronics before Benji fires into action. This track is a step back into the more up tempo side of Skindred‘s musical arsenal, bouncing along at an irresistable pace that is driven even further by well placed breakdowns that elevate the intensity and accentuate the vocals.
Another breakdown of sorts ushers in even greater aggression as Big Em Up morphs into a rapid fire, heavy as fuck passage of music that is brought back into line gradually as the song fades to a close. My favourite track so far.
Do It Like This has an almost Beastie Boys feel to start, complete with scratchings and rap/metal tidings but the vague comparisons end there as Benji strips the track back into a subtle drum and bass number that drifts in and out of styles and genres until it becomes impossible to even try to categorise.
Which is one of the many beautiful things about Skindred and their music. Whenever you start to feel comfortable or in tune with their music the band throws spanner after spanner into the works until you are forced to simply listen to the music for pure enjoyment rather than anything more specific.
My People breathes life courtesy of more electronics before a shuffling drum pattern gives an almost funky vibe with an underlying dose of rock goodness. This song is carried throughout by a tough balance of drums and guitar that adds an aggressive intent to an already hostile number. When I say hostile, I mean you can feel the urgency in Benji‘s voice with subtle changes in style and focus driving the message home without having to resort to a destructive mess of instrumentalisation that is the staple diet of the modern age of music.
Give Thanks opens with a hazy vocal passage which serves as the perfect seguey into a reggae tinged track that will have even the most dance resistant of us moving involuntarily in time. The track has an engaging shuffle to it that gels perfectly with the breezy and fresh vocal delivery from Benji that would add warmth to even the darkest of moods.
Things finish up with the bonus track Dred Or Alive that has an almost industrial feel as Benji launches into a more aggressive approach offset by a beautifully tempered chorus and swirling mass of electronics that pulls the track in a plethora of directions.
Benji slows things down considerably with a burst of soothing vocals before things once more return to the perfect imbalance where Skindred spend the majority of their time. It’s almost as if Skindred are farewelling us with a message not to get too comfortable. Which is fine with me.
Comfortable is boring.
