Secure shopping

Studio equipment

Our full range of studio equipment from all the leading equipment and software brands. Guaranteed fast delivery and low prices.

Visit Juno Studio

Secure shopping

DJ equipment

Our full range of DJ equipment from all the leading equipment and software brands. Guaranteed fast delivery and low prices.  Visit Juno DJ

Secure shopping

Vinyl & CDs

The world's largest dance music store featuring the most comprehensive selection of new and back catalogue dance music Vinyl and CDs online.  Visit Juno Records

Drums Of Death – Generation Hexed review

After being a staple on both the Greco-Roman imprint as well as at clubs and festivals for almost two years now, Colin Bailey’s ghoulish, face-painted alter ego Drums of Death finally drops the debut album we’ve been waiting for. As a solo performer, he’s entrancing – both because of his stage make-up, but also because of his one-man ravecore beats that are sung over, and sometimes completely shouted over. Appropriately, “Karaoke” is the first tune on the album, and it ushers in the wave of pop-leaning electro madness with some looped and very wonky vocal drones. “Science and Reason” quickly follows and it’s a chaotic mix of different drum kits, glossy synths and DOD’s multi-tracked and dryly recorded vocals – similar at times to ex-Beta Band singer Steve Mason.

“Won’t Be Long” flips the chipmunk effect midway through on Bailey’s voice, making it rise into a huge looped crescendo that’s clearly something he’s honed through his live shows. “Lonely Days” follows the same trick, building a huge rise midway through while riding some seriously fat D&B-style bass. With the vocals sounding so pleasantly unprocessed and raw for the most part, the album as a whole could almost serve as a document of the riotous live shows DOD has unleashed in the past – such is the intensity of his style. “Creak” however pans out as purely an instrumental though, with a slow horrorcore feeling to the epic synths that’ll have you checking under the bed for lurking ghouls or ghosts. “All These Plans” is a real highlight – a proper indie-club crossover that’s bound to get a lot of play, while you’ll wish all R&B songs had the same thump ‘n’ grind of “Everything All At Once” – featuring some textbook use of off-the-hook arpeggios. The punky, rough-edged quality of Bailey’s vocals work a treat on “Modern Age” – sounding like Mark E. Smith on the verses and James Murphy on the choruses, over a pounding pop-rave backing. Such is the appeal of “Generation Hexed” – an album that seems imbued with that punk spirit of throwing everything at the wall and giving listeners an energy-packed, 1000 miles per hour ride along.

Oliver Keens