Album Reviews

Sentences I’d Like To Hear The End Of by The Bakesys 

No matter the subject, a lesson is only as interesting as the teacher teaching it. Johnny Ball did the impossible, he made maths fun! Likewise, but more modern, Terry Deary’s books and subsequent CBBC show, Horrible Historiesmade what’s often perceived as a dull subject by pupils, somehow entertaining, amusing even. If Deary was my history teacher, rather than a thick-rimmed speccy, bearded beatnik with leather elbow patches on his tweed jacket, well, I might just have taken heed of their wisdoms.

Equally, if you want to teach history to a bunch of scooterist skinheads, consider employing The Bakesys, for they are a skanking Horrible Histories, at least for this new album, released last Thursday called Sentences I’d Like to Hear the End of.


Something of an elusive band despite twenty years presence on the UK ska scene, the early stages of The Bakesys reflected heavily on punk inspirations, such as the Buzzcocks, crossed with later developments of a definite Two-Tone influence. Sentences I’d Like to Hear the End of takes it to whole other level. Akin to what On-U Sound did for dub in the nineties, sprinkling in a counter culture punk ethos, The Bakesys do for ska. It’s more upbeat than the usual plod of dub, but strewn with samples, heavy basslines, and drum machine loops, it has its elements.

From another angle though, as Dreadzone meld such influences into the electronic dance scene, there’s a contemporary sound, a mesh of offbeat influences with the Bakesys, more in line with the current ska scene. The flood of brass and chugging rhythms confirms its allegiance to authentic 1960’s Jamaican ska. What comes out the end is unique beguiling buoyancy, and it’s absolutely addictive.

Yet we’re only scraping the surface of why, the theme of the album is the kingpin here. Reflecting the era of its influences, subjects are historic affairs based in the sixties. The opening title track raps of Christine Keeler and the Profumo Affair. Get Your Moonboots on is on Apollo 11’s moon landing, and the third, most haunting tune, You are Leaving the American Sector takes newsreels of the Berlin Wall. One I’ve been playing endlessly the single of on my Friday night Boot Boy radio show.

Atomic Invasion explores the Cold War, yet, as with Keeler, this sublime set of songs often concentrates more on the personalities than facts of the events. The Space Race is up next, with a nod to Yuri Gagarin’s luminary. Then it’s the Cuban Missile Crisis with the numerous failed attempts to assassinate Fidel Castro, Cassius Clay’s rise to heavyweight champion of the world, and Robert F. Kennedy’s assignation.

Despite these often-dark subjects, it’s surprisingly upbeat, as if, like I said, The Bakeseys are the funky relief history teacher, and your class is about get moon stomping! The last three tracks offers dub versions of the most poignant tunes on offer here, yet the album as a complete concept is nothing short of brilliant.

The third CD album released on Bandcamp, and quite the best place to start if you’re unaware of them. Keyboardist Kevin Flowerdew, has self-published the ska scene’s definitive zine, Do The Dog Skazine for many decades, which has released this under its label namesake, Do the Dog Music, so he certainly knows what makes a great sound; which this does with bells on.

By Darren Worrow
Originally posted on

Intergalactic Brasstonaughts

Music For The People by Intergalactic Brasstonaughts

There is something very familiar going on with this album. The Intergalactic Brasstonaughts are a collection of well known alien musicians. Their mission is laid out in the ‘Intro’ to the album, “Greetings, loyal subjects, rank and file, reptilian brothers and sisters…. This is a transmission in the future from the archives of the Intergalactic Brasstonaughts”. The sound is familiar, almost reminiscent of something you have heard before; then the second track kicks in and suddenly you know where you are in the universe, who is playing to you and the feelings of acceptance come flooding through. There’s no need to be scared anymore, you are in good hands, even if they are aliens.


Drums kick in with a familiar roll and then the defining sound of the band breaks through: the sousaphone, the trip-trapping of the piano like a little spring lamb frolicking in the grass, the empty sound of dub highlighting every instrument as it joins in. These guys know how to make music.

I know the human bodies which house their lizard occupants are putting out sneaky peeks of the album via the King Zepha YouTube channel, but is it really them? It sounds like them, in fact track two ‘Bottom Of The Pile’ sounds more like King Zepha than King Zepha sound like King Zepha. 

The album is a triumph. On first listening I found myself sitting in Tesco car park, window down trying not to look like I thought I was cool, but also thinking ‘This is f*cking brilliant’. Taking a bunch of well constructed songs, adding the elements of dub, striping out the sound and delivering a 1920’s Figrin D’an and the Modal Nodes tribute act (and I had to Google that).

Now I could go down the playlist and give a description of every track declaring them all with a bunch of superlatives, however, for me, the stand out track from the whole collection is the mighty ‘Al Baba’; a favourite from the original Northern Sounds album. It is held so close to the original masterpiece, yet stands so far away. The brass section is full, the sousaphone drives the beat, the guitar upbeat and smiley, the keyboard is sporadic and repeats the musical theme throughout. Classic King Zepha. 

The album is set to be released on 16th July. However you can pre-order the album and receive the track ‘Made In Hong Kong’ or you can watch their releases over the next couple of weeks via Intergalactic Brasstronauts | Facebook or Intergalactic Brasstronauts – YouTube

However you get to this album, it’s well worth it. 

By Catflea Massacre