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Recorded in 1996, this album was Boris' full-length debut, and it showed right away that this band wasn't messing around. Consists of one 65-minute track, "Absolutego."

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Boris has taken its musical split personality to the logical extreme on Dronevil: Final, where the two discs are meant to be played simultaneously. One disc, "Disc Evil," contains three songs averaging 20 minutes in length, and the other, "Disc Drone," contains three feedback accompaniments.

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04092001 is a collaborative live album between Merzbow (Japanese noise musician Masami Akita) and Japanese experimental doom band Boris, released on Inoxia Records in 2004. It was recorded on 9 April 2001 at Milk Tokyo. Though Boris' official site and most other sites name the two sides as "Side A" and "Side B," it's clear this recording consists of live renditions of five songs from Heavy Rocks accompanied by Merzbow's noise arrangements.

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The Thing Which Solomon Overlooked 3 is an album by Japanese band Boris. This album maintains the drone/ambient sound kept with the previous two albums and is still vocal-less.

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Some of the songs on here are more in the vein of drone ala Sunn O))), but "No Ones Grieve Part 2", in particular, is the first of the series to feature drums. It is also a longer version of "枯れ果てた先" from the Japanese version of "Smile" (called "Ka Re Ha Te Ta Sa Ki - No One's Grieve" on the US version of "Smile",which is itself a slightly longer version).

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This album, unlike most of the previous output of the past few years, is more of a drone/ambient album. It's also one of the first Boris releases completely devoid of any vocals. The album also doesn't feature any drumming, so it's relatively unknown what Atsuo could be contributing to this release.

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Easily identifiable by its rather clever, Nick Drake/Bryter Layter-inspired cover art, Boris' Akuma No Uta in many ways offers a back-to-front cross-section of the Japanese trio's entire career, in all of its many stylistic varieties. Both the nine-minute, molten lava introduction and the closing title track delve in ambient drone tendencies (reminiscent of Earth and label mates Sunn 0)))), while a pair of comparatively brief submissions -- "Ibitsu" and "Furi" -- offer succinct, rudely distorted acid garage psych (think the Stooges, only cruder and heavier, or Spine of God-era Monster Magnet, but more energetic). As for the mid-album piece de resistance, "Naki Kyoku," it takes all of 12 minutes to carry out a gradual crescendo: from its mildly psychedelic, oddly "Freebird"-esque beginnings, through an extended mid-section offsetting equal parts guitar soloing and vocal chanting with fluid bass twiddling over ambient space rock sound effects, before finally arriving at a suitably shuddering sonic earthquake with its feedback-laced finale that's fit to level Tokyo.

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With their second full-length album, Boris takes their sludgy, Melvins-influenced doom rock style and gives it a heavy psychedelic slant. The album is divided into five tracks, but like their other albums, Absolutego and Flood, it plays out like one extended piece and is meant to be listened to straight through in one sitting.

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Attention Please is one of two simultaneously released albums by Japan's Boris on the Sargent House imprint in 2011. The other is Heavy Rocks--not related to the 2002 album. It is also one of four planned full-lengths by the group during the calendar year. (The others are a collaboration with Masami Akita -- aka Merzbow -- entitled Klatter, and New Album, which mixes tracks from Attention Please and Heavy Rocks with other new material. The latter two are available only in Japan.)

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Black: Implication Flooding is a collaborative album between Japanese experimental artist Keiji Haino and Japanese experimental doom band Boris, released on Inoxia Records in 1998. The album was recorded live at Koenji 20000V on August 31, 1997, and features edited cuts from that concert.

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Boris' At Last -Feedbacker (or simply Feedbacker) is an album by Japanese band Boris. This album is another one-song album like Absolutego and Flood before it. It incorporates many different rock elements and is one song the band frequently plays live. There exists an officially released DVD of "Feedbacker" live in New York entitled Bootleg -Feedbacker. It was limited to 500 copies, with copies depicting a different member of the band lying in a pool of blood similar to the album cover.

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Flood is the third album by Japanese band Boris. Like the previous albums, it stays lengthy and massively slow, but in addition to sludge influences such as the Melvins and Sleep, there are undertones of psychedelic rock. The back cover lists only one track, but the CD actually has the song broken into four tracks. "Flood I" consists basically of a guitar riff which is repeated and modulated throughout the song; echoing drums and noises are inserted near the end. The noises culminate on the beginning of "Flood II". "Flood II" is a minimalist, psychedelic rock song. Slow drums, calm chord progressions and a guitar solo fill this track. "Flood III" starts with a calm guitar riff from the previous section; the same riff is repeated on a heavily distorted guitar that looms in from the background. The song evolves into an epic doom piece, with vocals performed by Atsuo and Takeshi in unison. The song reaches its climax, and a riff is repeated on the bass while noises and echoes from the distorted guitar fill the background. "Flood IV" consists primarily of this, with the noises strengthened, and a clean guitar that plays some notes for a while.

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Heavy Rocks is the fourth album by Japanese metal band Boris. Unlike the previous albums, which were laden with doom and drone sounds, this music departs wholesale from Boris's previous efforts and emphasizes punk and stoner rock. Despite this, the album was and is still well received by fans, and is the "base sound" for their releases on Diwphalanx.

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Heavy Rocks is the sixteenth studio album by the Japanese experimental band Boris. The album was released on May 24, 2011, through the label Sargent House. Its original release date was April 26, but this was pushed back.[2] This album has the same name and cover style as their album released in 2002 called Heavy Rocks, although the cover is purple instead of orange. The band brought back these elements because they "seek to redefine 'heavy' music in a culmination of the band's tireless efforts over the past two decades".