Limp Bizkit’s The Unquestionable Truth: Part One: Newest Album with Wes Borland Back in the Band
The reason, to generate more fans. Having been entirely recorded in Prague, this album sports a dark tone. Having a slight Rage Against The Machine feel to it, the lyrical style of Fred Durst and heavy guitars of Wes Borland all meddle together to form that distinct sound Limp Bizkit is (in) famously known for. The dark, melodic tunes oozing from Wes’ guitar heavily influence the majority of this album. He is back and this album proves it.
Although the majority of the album consists of choler-filled songs; two songs, one being an interlude, are relatively slow in pace. The first single The Truth is a perfect portrayal of the new style they are employing. One thing that brings attention is the significantly short length of this album. Lasting a mere 29:41 may be enough to dissuade the average listener/purchaser. Although the second part of this album is scheduled for release later this year, this may not be enough to attract the attention it deserves. Although a partially sly marketing maneuver, it may not effectively work.
The fact that Fred is releasing the second part later this year may either yield more fans or fail to achieve the desired effect. This could also create the opportunity to assemble a dual disc set once both are released, creating an increase in market revenue. Since the release of this new album, hype for the second disc has considerably risen. This album will most likely generate a new wave of Limp Bizkit fans.
Wes Borland’s distinctive playing style can easily be recognized and Fred Durst’s lyrics carry the same groove. Either you like Fred or you don’t. This CD has alot less “yodeling-rap” than usual. One song is followed by brief marching chant. Limp Bizkit always includes tunes done entirely by DJ Lethal and Lethal is considered by some to be one of the most talented DJ’s out there today. There is no Intro or Outro track on this album.
Sam Rivers does an excellent job on the bass in the song: The Truth. The rest of the album doesn’t feature complicated chords but how much can a bass player accomplish over Wes’ loud riffs? John Otto going into rehab halfway through recording the album, allowed him to play solely on The Channel but fill-in Sammy Sieglar does a spectacular job creating the necessary beats for each song.
This album does not focus entirely on Fred’s lyrics or Wes’ heavy guitar riffs but on getting a point across and creating music the way it should be. Musically, this is one of Limp Bizkit’s best albums but lyrically, it could have been a whole lot better. It all really depends on whether you are into the seemingly deep, meaningful lyrics or not. Although Fred’s lyrics try to be deep, they do not always make sense. This album gets you hooked each time you pop it in the CD player. The more, the better.
The Propaganda – the drum style of Sammy Sieglar is clearly distinct, almost always started with the ever-so popular drummer “one-two-three-four” call without the talking but the beating of the sticks. An excellent opening track bearing extremely heavy riffs. Although the ending seems to drag on forever, overall, this is a very catchy song.
The Truth – also Limp Bizkit’s first single, if you had to pick which song sounded the most like RATM it would have to be this one. With the introductory riff sounding so much like something Tom Morello would do, the song is fun to listen to and a good way to get an overall feel of the album. Although the singing style does not perfectly fit the song, it all works out in the end.
The Priest – this song portrays Fred’s fantasy of wanting to be a priest molesting children. Musically, the beginning is mediocre but then, as the song progresses, it gets better.
The Key – an interlude. This could have easily been taken out. Once again, Fred overuses the word “f – k,” just like he is known for doing in The Chocolate Starfish and the Hotdog Flavored Water. Lethal clearly backs this track up with his devious loops. This song is one of the album’s poorest, it is a filler.
The Channel – the only song actually featuring drums by John Otto. A genuinely good song with a nice riff but not catchy. This song sounds more like a rant.
The Story – very basic guitar riff but well done. This is an “in-your-face” song kind of like “Break Stuff.” It is very aggressive and full of dark, deep meanings. A well-thought out song and full of grace.
The Surrender – a slow song and quite frankly, one of the best on the album when it comes to lyrics and singing. This is the only singing Fred does on the whole album and it is a nice change of pace. There is a lot of repeating but it all flows nicely. A nice ending to an aggressive album.
Overall Fred Durst makes it clear that he is full of anger and hate and he unleashes it all the way on this album. The opening and closing tracks are amazing. Wes Borland is back and so are his guitar skills. No solos, just heavy riffs that will make you want to go back and listen to the entire album again and again.
