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"Feedbacker is, like Sleep's Jerusalem, one big song. Also, like Jerusalem, that one song is indexed into a few chunks, just to mark its progress, or something. The five "parts" of Feedbacker are segmented according to the different stages of intensity: the first "track" is nine minutes of feedback/buildup, the second "track" is the Meddle/Maggot Brain portion of the proceedings, the third "track" is the sound of the whole thing crashing like the bottom of Niagara falls, the fourth "track" is the orgasmic finale, and the final "track" is the afterglow. it reminded me quite a bit of Godspeed! You Black Emperor, Blue Cheer, and Meddle era Pink Floyd. It really does feel like an epic journey: if you're not exhausted at the end, you haven't been paying attention. Feedbacker is all about the textures between getting seriously psychedelicized screech out of what sound like about 274,275 pedals to just plain noise to those intricate filigree guitar parts."

"Boris are never more than a power chord away from heavy ’70s sludge fuzz, and that’s important to remember because their elemental intensity has a lot more to do with presentation and execution than writing the perfect riff, a point driven home with electric clarity on Feedbacker. It begins at the core, with ambient waves of Earth-like drones rippling across an otherwise silent nine minute expanse before Atsuo spills into his cymbals, commencing a funereal march. Vocals are always a “less is more” matter with Boris. Takeshi finally howls out a few stanzas in long, mournful wails. Wata arcs her echoing feedback up and holds it in a piercing squeal, the drums go half time, the bass grinds like a bulldozer. This is the sound of Boris basking in the wreckage of their rock. Feedbacker is a more pensive, reflective release, closer to Flood than Amplifier Worship, and a step further away from their rock heritage."

"Boris master the feedback, it acts at their command in a truly astonishing way. Then, Atsuo hits for the first time his cymbals and snare. They craft a trance-inducing mournful tune, a mind boggling moment of abandonment. It’s slocore that fucks with psychedelic rock for some of the most beautiful minutes of your life. One of those moments when you listen and do nothing and don’t feel like you’re losing your precious, so precious time. When Wata starts her first solo, it feels like you’re reaching a peak that you won’t come close to ever again. How wrong! This whole album sits comfortably on top of almost every other music I’ve heard in my whole life. And then Takeshi starts singing in a way you’ve never heard him do before, sad and fragile and distant and it’s even better. And then things start to get heavier and it’s even, even better. And then you get the “straightest” riffs of the album and then it’s all about rumble, distortion, fuzz, hammering and it makes you move as one with the sounds."

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