Reviews by the following:

Is This Music? (Stuart McHugh)
Ultra e-zine (PV)
Industrial.org (Moron)
Careless Talk Costs Lives
The Big Issue in Scotland (Doug Johnstone)
Maelstrom (Roberto Martinelli)
The List
Ampersand Etc (Jeremy Keens)
STNT (Erwan)

"Who said music had to be fun? Certainly not Hex, who themselves admit that closing track on this 'mini-album', the 30-minute wall of noise that is 'untitled', is one they'll not be listening to again. What of the laughs and japes that go before this descent into a musical hell - which probably features the sound of tortured souls which you can't hear above the din of squealing feedback?
Hex are two guitars and a rhythm unit and like to make a racket - 'Credit' attempts to capture the cataclysmic reputation of their live shows where inordinately complex guitar interplay a la Captain Beefheart possessed by the spirits of the Jesus and Mary Chain and all of Napalm Death. indeed, opening track's title 'Honeyfuckjesuspsychocandy' perhaps gives you some idea of how much they love feedback. 'Ciccone' is another case in point as it surely veers to Sonic Youth rather than everyone's favourite disco diva. 'Buckley', then, you'll not be surprised to hear, is a tribute to Tim's younger brother, you know, the one that moved to Norway to form a black metal band. Go into Hex expecting to be shocked, assaulted and quite possibly scarred for life. You'll not be disappointed." Stuart McHugh - Is This Music?

"Low budget vitality! Scottish feedbacktrio records cute li'l noisy album in their bedrooms and their parents' living rooms and adds beautiful li'l pictures in the packaging process! This album hardly sounds overproduced but I kinda liked it anyway, with Hex throwing themselves at some sort of Black Sabbath Sonic Youth Napalm Godspeed Therapy influenced NOISE with the kind of hormonal enthusiasm that makes you wonder what John Peel must have felt when he first heard "Teenage kicks". Ahh that power of youth won't often save art but it often does save the day. Right from the start, viz. the nastily driven "Honeyfuckjesuspsychocandy", you're taken on a rollercoaster ride which makes you wonder about the aforementioned names as well as about Little Richard, Motörhead, wasted youth and the loss of the British empire. By the time you've reached the the final track,, the 39'51" feedbacknoisefest "Unnamed (as yet)", you'll probably have had enough of feeling fifteen again but you're bound to have thought 'Great Scots' at one moment or other..." 3.33/5 pv - Ultra e-zine

"Without any strain of the review muscles, Hex are plainly offering up their take on the ye olde noise rock genre. It's about as early 90s in tone as one could be, both in content and lo-res production. In fact, this could have easily have been a tape release from the complete lack of shine on this recording. The only obvious derailment along the way is an extended episode of noise mongering which will allow some to argue that this is a noise release hiding behind the faded ski mask of 90's noise rock. Personally, think the noise is just a side effect of compositional laziness but your mileage may differ.

"The Credit Of Not Caring" kicks off with what is practically a tribute band rendition of a long lost Slug track. Although it lacks some of the momentum of the better Slug material I would have still be sold if not for the fact that at 7 minutes plus it ends up sounding more like the band just didn't want to show any fear while they desperately tried to figure out how to turn the damn drum machine off. The next track pushes back some of the raw distortion skree to play around with Communion label math rockish material, half early Bastro and half Slint which is actually fairly solid though in desperate need of some mastering polish and perhaps it could lose the annoying college sweater for some bonus points. As is, it has the pallour of some shitty 80s era Canadian film (nothing but beige and brown) which would have kicked arse 10 years ago but with all the free VST plugins available (not to mention pirated versions of T-rax), there just isn't a whole lot of excuse for the shitty mastering job here. The rest of the album continues in this unfortunate fashion - some moments of inspiration and energy crumpled into a dusty littly ball of who gives a shit by the dingy production values and lack of self-restraint where called for. This latter point juts out its ugly mug on a number of the tracks, as if the band was too busy passing around the water pipe and forgot that the song was supposed to end several minutes previous.

The most obvious transgressor as far as long winded spew is concerned (a trait shared with most of my reviews funny enough) is the wankfest "Unamed (As Yet)". Essentially a 39 minute freeform noise jam, this track really points out the unnecessary nature of this CD from MRW44. The track is basically a document of a band working on a new song, new riffs being trotted out and then beat to death since they have not as yet lost their novelness for the band's progenitors. Unfortunately, since the listener isn't the one with their hair being blown back by the vibrating 10 inch cones of some speaker cabinet they end up feeling like they are prompting an absent minded elderly person to finish their sentence. After 5 minutes of "um, yes and..." the eyes suddenly roll back and let out a curdling scream sounding rather Mandragora in tone which is OK but is totally at odds with the rest of the release and could have just as easily turned into band members teasing each other with refrains of "Rock You Like a Hurricane" or "Pop Goes The Weasel" followed by a dirty joke and then some infighting (all of which would have been more entertaining).

So what we have here is essentially two unrelated EPs - a lack lustre bit of noise rock and some loud but not all that adventurous noise skree. The problem with this scenario is that they are antogistic towards each other as far as listening experience goes. The noise rock portion makes the latter noise jam seem like a wanky outro, much like getting ripped off yet again by a stupid fucking excuse for a new Melvins record. The whole thing just seems ill conceived and I fail to understand why this wasn't either two EPs or at least a low run CDR release. I've heard way more interesting stuff from MRW44 and the money they poured into getting a full length CD pressed for this bit of flotsam should have been saved either for more deserving releases or one fuck of a good bender as a consolation prize for delivering a recording unsuitable for public consumption. Next."
Moron - Industrial.org

"Two big muffs and a 40-minute final track:guess you can work out what this sounds like" (yes, that short!)
Careless Talk Costs Lives

"It's a pretty safe bet that any band that call the first track on their album 'Honeyfuckjesuspsychocandy' isn't angling for an appearance on Top Of THe Pops. The fact that they feel they have to dare you listen to their record in the press release also indicates that Hex aren't destined for world domination.

But the world needs bands liek Ayrshire duo Hex, pushing the boundaries of rock into uncharted territories with a single-minded energy that is at once admirable and irritating.

A wildly diverse romp of instrumental post-rocking madness, The Credit of Not Caring is an intense and difficult record, from the frantic mayhem of 'Buckley' to the virtually unlistenable noisfest of 'Unnamed (As Yet)'. In fact when the surprisingly bouncy 'Murano St.' pops up, it's a blessed relief on the ears. But long may the likes of Hex continue, populating the regions of the musical hinterland that most bands fear to visit."
Doug Johnstone - The Big Issue in Scotland

This Edinburgh, Scotland duo's take on the guitar-driven noise genre has a few things going for it. For one, despite being recorded in various bed and living rooms, the sound is very good. Some of the driving riffs and wall-of-noise passages are fairly good in themselves and serve their intended purpose.

Hex's glaring problem is that it is very unclear as to what the band's artistic or even sonic intention is. The six tracks, which range from a few minutes to a 40-minute sprawler, feel like they were improvised on the spot. Many of the riffs are repetitive and tedious and seemingly slapped together randomly, which can also be applied to looped sound sample of human voice in which one person sounds like a turkey. This could be all good, but it's not joined together in a way that instills any confidence in the listener that Hex really knows what it's doing yet. Please keep at it. Bring a pencil and paper.

Roberto Martinelli - Maelstrom

"Similarly post-rocking but a millions times weirder are Hex. The Scottish duo are putting the 'mental' back in 'experimental' with The Credit of Not Caring (mrw44, 3/5), a record so bloody-minded you suspect they're only releasing it to annoy the world. Which it does, especially on 40-minute closing abomination 'Unnamed (As yet)'." The List

"Hex play guitar bass and drums (plus big muff) to create a lofi-noise-grunge sound with a surprising denouement.

Starting with a piece with a typical confronting title 'Honeyfuckjesuspsychcandy' and is a combination of feedback sqwalls and shrieks, with driving bass and drums providing a steady rhythm and melody, plus some hints of piano and straighter guitar, breaking to some more restrained periods before fading to bass and pulsing, then some strange voices. Rhythmic thrashy and melodic, 'Dr strangelove' is catchy with some solo breaks that verge at times on the acoustic, then shifting into a noise version. Bass, drums and shimmering guitar with a broken middle section slides into a wall of sound in 'Buckley' which we are extracted from by the thud-drum working its way back to a rhythm: the fade is nicely tricked before a brief coda.

Bass and guitar pulse together in 'Ciccone/haunting delay number' almost picking a tune when the guitar breaks out for brief solos, then suddenly switches into pounding drums and a crushing wall, and possibly with some vocals, quite a stomper before a third section which has a restrained atmospheric guitar solo before a fizzing and fade. 'Murano st.' is another more gentle melodic piece, with some dense parts and a twangy solo, but quite approachable.

Finally, a surprising monster ­ 'Unnamed (as yet)' is a 40+ minute extravaganza. The first quarter is a strong groups piece ­ pusling drones, bass and guitars pushing forward, feedback and fuzz, coming and going ­ and then it just keeps going. There is swirling whooshing feedback pulsing fluttering peeping deep-voices phasing panning shifting walls of sound and noise that has its origins in the basic sound but drags it in a direction which is noise-ambience. The line notes refer to 'Weir's [the recordists] Spector-esque demands' and the involvement of him in both the recording and mixing (done by the band, Weir and O'Hare) is evident and important in taking the album into some dense and exciting territory.

Very nicely varied ­ with beats to keep you moving, melodies (at times) to hum to, and walls of sound to fall under the spell of. Another engaging noisewerk."
Jeremy Keens - Ampersand Etc

"Découvert sur la compilation NO REWIND (september of...), HEX sort son premier album sur le très swinguant MRW44 ! La première référence en tant qu'album du label anglais (tenu par Claire44, une francaise expatriée à Edinburgh...) vivote dans un univers bruitiste initié par les vieux démons NOISE que sont JESUS AND MARY CHAIN, SONIC YOUTH première fournée ou surtout par un DOCTOR MIX AND THE REMIX remis au gout du jour ! Boite à rythmes donnant dans le froid ou batterie violente à souhait, fuzz à gogo, l'univers est instrumental, enregistré en 4 pistes (mais quel son !!!) et détonne dans le rouge vif des bavures sonores aux dégats colatéraux certains ! Evitant la mélodie facile à tout pris, la musique du trio anglais racle dans la NO WAVE NOISE dans 6 titres au gout décalé dans le rock bruitiste... Terroristes sous une pluie d'obus bien d'époque, des structures pas si faciles que çà à appréhender, on ne saurait mieux préciser que HEX aime la violence des relations, le décalage du bruit, l'expérience sonore, la fureur des armes et la vie de soucis ! Musique meurtrie et fureur du bruit, HEX charme par sa violence Noisy !" Erwan - STNT