[2] Australian musicologist, Ian McFarlane, felt their "music mixed grinding guitars and driving beats with an unsettling ambience.
Allen's frazzled bass, Rick's churning 'electric slide guitar', and Tom's primal drums thud like their names: no nonsense, no added frills.
"[3] Ned Raggett of AllMusic described the album, "From the opening hoarse crawl and gargle of 'Ha Ha,' feedtime on its debut sounds like its members were out to not merely perforate eardrums, but flat out bludgeon skulls.
"[6] In May 1988 they issued their third studio album, Cooper-S; according to McFarlane it "featured all cover versions done in the inimitable feedtime style of raw and heavy thrash."
Christgau felt "Most cover albums trip over their own roots – self-conscious simplicity is too neat a trick to bring off a dozen times running.
"[6] Trouser Press' Andrea Enthal and Ira Robbins observed that it "applies Feedtime's noisy shredder to cover versions... with its tuneless spirited roar, feedback slide experiments and an occasionally untuned bass.
Whether or not it was the exercise of the covers album Cooper-S that found the trio letting its hooks come forward more than ever, Suction easily challenges (and often beats) the Jesus and Mary Chain when it comes to the 'melody + noise' equation.
"[8] The group had been planning their first US tour when "emotional and psychological issues" resulted in their break up: Johnson "later admitted to have suffered a nervous breakdown.
"[11] McFarlane declared that they were "one of the most uncompromising and influential groups to emerge from [Sydney]'s early 1980s inner-city scene... there was only one other band that could match them for sheer sonic force and rhythmic density: the notorious X.
Bruce Griffiths of Aberrant Records said of his interaction with the group, "the most satisfying was feedtime, because they became extremely close friends as a result of working with them, and I guess part of the satisfaction with them was the fact that they achieved recognition; they were licensed to Rough Trade in America, they're now licensed to Vinyl Solution in England and Europe, to Megadisc in the Benelux countries in Europe, so I guess that was satisfying in the way things happened, and a lot of people as a result of my involvement and us working together came to appreciate this band that I thought was really special.
[14] In April 1996 the trio released their fifth studio album, Billy via Black Hole Records in Australia and Amphetamine Reptile in the US.
[16] In October 2015, the reunited Johnson-Larkin-Sturm line-up recorded their sixth studio album, gas, with Mikey Young of Total Control.
[19] Despite limited impact at home, Feedtime exerted influence in the United States, particularly in the Pacific Northwest, and is recognised as having "presaged or even helped create grunge".
[23] The title track of the band's 1996 album Billy is featured in the 2010 book 1001 Songs You Must Hear Before You Die: And 10,001 You Must Download.