EndEx doesn’t win many points for going where no band has gone before. The album, and its creators, do deserve credit for continuing the Fear Factory tradition, as an industrial metal band preoccupied with questions of how technological advancements adversely affect our lives. If you fear the future, this is the soundtrack for you.

It’s a good album, though not an Opeth classic. It occasionally meanders and feels in need of a few more truly golden moments to tie its various eccentricities together into a brilliant whole.

It's an album that draws on blues and gospel alongside atmospheric art-rock to end up somewhere intriguing, unnerving and frequently overwhelming. [16 Oct 2010, p.52]

If you can look beyond this band's inherent safe-ness, there's plenty her for fans of the sugar rush offered by Paramore, All Time Low, Simple Plan et al to enjoy. [11 Aug 2012, p.53]

Less encouraging is that while the album is unmistakably brutal, it's also remarkably unmemorable. [2 Apr 2011, p.52]

Over the course of their 10-year career, The Black Dahlia Murder have struck rigorously to their melodic death signature sound while delivering engaging albums, and Ritual maintains this standard. [25 Jun 2011, p.51]

Iron Balls Of Steel ultimately raises eyebrows more often than it does fists. [14 Jan 2012, p.51]

The Proverbial Bellow could almost be all that this chapter comprised and not irk their faithful. The other three tracks deliver too, but were destined to always pale by comparison. [14 Jul 2018, p.55]

There's nothing ambitious or monumental here but a tight 50 minutes of call-to-arms rage. [27 Jun 2015, p.52]

Heavy and not consistently rewarding, it is nonetheless always interesting. [18 Jun 2011, p.51]

An album of blues covers that's beautifully mellow and endearingly warm. [25 Sep 2010, p.52]

Eccentric in all the right ways, No Home Record is just poppy enough to be accessible, yet edgy enough to satisfy even the pickiest of old school noise-rock fans. [12 Oct 2019, p.55]

Silver Age is a fun ride, then, but it won't warrant racing back for any tine soon. [6 Oct 2012, p.53]

A record packed with starry-eyed guitars, almost as if they were being beamed back down from the International Space Station. [24 Sep 2016, p.53]

A strange, unruly offering. The momentous, squalling dissonance of the curtain-raising Reducer seems to signpost where they’re going, but then they spin off into a twisted, eight-track labyrinth.

Much of the album is minimalist in its approach, allowing Jonas Renkse’s vocals to guide the way against a kaleidoscopic soundscape of soft melodies that feel almost ethereal.

The music itself is minimalist, but still manages to conjure an intense darkness, aided by the haunting drawl of guitarist Reid Bateh. [15 Feb 2020, p.55]

Neither Boris nor Merzbow are particularly known for their music being concise, and of course this opus is no exception — clocking in at almost 90 minutes it takes its sweet time making its point. This isn’t necessarily a bad thing, as they unhurriedly pick apart their previous material it provides fresh perspective and an opportunity to rediscover.

The dreamy Cali-sound is easy to get lost in, but Seahaven takes you somewhere you won't actually mind being stranded. [22 Mar 2014, p.53]

They're at their best when they're at their harshest, with the grindcore attacks of Saintpeelers and Sovereign Through The Pines proving as exciting as this stuff gets. [12 Mar 2011, p.52]

You can’t help but feel that some creative tension and idea-bouncing in there might have led to some more invention and exploration in the album’s midsection. Nevertheless, though, this is still an impeccably delivered slab of hard rock fun.

Thirty years on from the release of their earth-jolting, trouble-divining self-titled debut, Killing Joke show no signs of either mellowing or cracking a smile. [Sept. 25, 2010, p. 51]

Corpse Flower is an album for completists. [15 Sep 2019, p.55]

Finally adding a bassists to PD's ranks has robbed them of some of their personality. [8 Sep 2018, p.53]

FLOWERS for VASES / descansos continues what Petals For Armor started in showing just how much of Hayley Williams we still have to get to know as an artist. The Paramore question mark continues to hover, but here Hayley has once again shown that there’s more to her than one band.

This is a largely unimpressive album. [9 Apr 2011, p.50]

There are no surprises here, it simply feels as though they’re picking up from where they left off from seven years ago; if you’ve ever listened to one of their albums before then this will feel instantly familiar.

What sounds beautiful one minute can be unwieldy the next, as everything hazes together. [7 Sep 2013, p.52]