Limp Bizkit
“The Unquestionable Truth [Part 1]”
Flip/Geffen Records
“Imagine accepting the truth…”
While many were quick to point out that the latest Limp Bizkit seemed like trademark Limp Bizkit material infused with the soul of Rage Against the Machine, it’s really just the band reverting back to original form. “The Unquestionable Truth [Part 1]” sees the band pulling influence from the more abrasive material off it’s debut album, 1997’s “Three Dollar Bill, Y’All,” and expanding on it to great result.
Limp Bizkit wasn’t always the rollin’ hip-pop rockers that the fickle fans loved to love and loved to hate. Before Fred Durst became an attention whore … before guitarist Wes Borland left a band that was simply “only producing music for money” … before he did it all for the nookie … even before the originality of a George Michael cover turned a struggling metal band into superstars, Limp Bizkit was crafting hard-hitting, riff-heavy anthems of aggression worthy of a spot upon the heavy metal mantle. And now, after spinning it’s wheels on one album that never saw the light of day (which was set to feature the song “Crack Addict”) and spending much time on a well-publicized search for a replacement guitarist after Borland had left the band due to creative differences (the group released “Results May Vary” in 2003 with Mike Smith, formerly of Snot, on guitar), the band is back to its old form.
Clocking in under 30 minutes, “The Unquestionable Truth” seems more like a re-introduction to the band than an actual new album (I’d even go as far as to refer to it as an EP for all intents and purposes). Spread over seven tracks, each featuring ‘The’ in the title, this new album is chock-full of riffs galore (courtesy of Borland who rejoined the group late last year), sick bass lines and lyrics that actually border on thought-provoking and mature … all this leads to a much more sinister sound overall.
The disc explodes with “The Propaganda,” with the chunky Borland riffage taking center stage immediately. The “fun” is gone from Durst delivery, replaced by anger and rage. The lyrical flow seems much more deliberate, almost like a rant, with more thought-out and smarter lyrics.
Sam River shines on bass throughout the album, especially on the lead single “The Truth.” The riffs are frantic and intense and John Otto does a great job of holding everything together from his perch behind the drum kit. And as solid as “The Truth” is, there’s still material on here that’s even better. “The Priest” is a schizophrenic affair, with the same heavy theme from the preceding tracks. In fact, apart from the funky interlude of “The Key” and the melody of “The Surrender,” this is a steamroller of an affair with the album’s best track, “The Story,” as inspired a concoction as anything Bizkit had done earlier in its career.
The production seems intentionally low-key on this effort, probably to give the album an underground air. The drums come across tinny at times (though nowhere near as jarring as on Metallica’s “St. Anger” release), the overall sound comes across as murky and Durst’s vocals aren’t as crisp-sounding as they could have been. The result though, instead of sounding underproduced, almost makes the listener feel like they’re watching the album getting recorded right then and there.
Overall, Limp Bizkit has put out its strongest release since its debut. Sure, they probably saw more success a couple of years ago, but if the band can keep on this track, it’ll actually turn into a band with staying power instead of something people wish would just fade away.
