Personally for me though, "Significant Other" is the killer LP. It really kicks hard and has a great crunchy sound. I must say though, the production on "Chocolate Starfish" is absolutely superb, it's incredibly well mastered too. Obviously "Rollin" getting to number one here in the UK damaged their cred somewhat but hey, it is a good tune. I think "Chocolate Starfish" is the one most people will know as it was the big one. They're still good but lose some of the impact listening back to them now. LB's albums are however, very "sign-o-the-times". It's easy to see why "Nu-Metal" became as big as what it did. It works extremely well, the hip-hop inspired beats and bounce with metal riffs. This is simply metal with a very big hip-hop influence. This usually happens when one member leaves a group - the chemistry changes and usually, not for the better. I feel that when Wes Borland left, they lost some of their edge. I somewhat agree with the other reviewer about Limp Bizkit. Leor Dimant (DJ Lethal) – Turntables, Sampling, Programming (1996–2012, 2018-present)įranko Carino (DJ SK3元TOR) – Sampling, Programming, Backing Vocals (2013–2017) Sam Rivers (2) - Bass, Backing Vocals (1994-present) Their work is marked by Durst's abrasive, angry lyrics and Borland's sonic experimentation and elaborate visual appearance, which includes face and body paint, masks and uniforms, as well as the band's elaborate live shows. In 1996 they changed the spelling of the name to "Limp Bizkut", and again later that year to "Limp Bizkit" (though some concert flyers would continue to credit them as "Limp Bizkut" well into late 1997). Limp Bizkit formed in 1994 under the name "Limp Biscut". Still Sucks stands as a fun and highly enjoyable addition to the band's discography, delivering exactly what a Limp Bizkit listener wants to hear.Rap-Rock / Nu-Metal (Modern Rock) band from Jacksonville, Florida (USA). Stretching further, "You Bring Out the Worst in Me" echoes the beauty-and-brutality approach perfected by fellow nu-metal survivors Deftones, while the caustic "Pill Popper" incorporates the mainstream industrial crunch of onetime antagonist and "Hot Dog" muse Trent Reznor. These classic Bizkit ragers are balanced by tracks such as the intimate cover of the 1982 INXS song "Don't Change," the plaintive, pop-leaning "Goodbye," and the dour Alice in Chains-lite "Empty Hole." They even attempt full-on grunge with "Barnacle," bringing the goals of 2011's "My Own Cobain" to reality. Once one of the most reviled frontmen in popular music, the now father and film auteur has set aside the Napoleon complex and penchant for tantrums, accepting his band's status in history with self-effacing wit and a very meta viewpoint on tracks like "Dirty Rotten Bizkit" and the hilarious "Love the Hate," which finds him trading disses with a Bizkit-hating emcee in a style similar to "All in the Family." To silence critics and drive the point home that they are truly unfazed, he reveals, "The joke's on you/You missed one clue: we don't give a f*ck." Elsewhere, on the explosive "Out of Style," a matured Durst atones for past band drama, pleading, "We should be on the same team/If we ain't, then we're nothing" atop a twin scratch-and-riff attack provided by Lethal and Borland. Ten years later - in the midst of a nu-metal revival driven by nostalgic youths who weren't even old enough to remember Woodstock '99 - enough time had passed to soften public opinion, and Durst, guitar virtuoso Wes Borland, bassist Sam Rivers, drummer John Otto, and DJ Lethal returned to a surprisingly eager audience hungry for unfussy rap-metal and the halcyon days when the most recognizable red hat was Durst's backwards Yankees cap. As the tides turned and nu-metal lost traction to the style and substance of the early-aughts rock revivalists, Limp Bizkit attempted an artistic evolution with the underappreciated Unquestionable Truth and Gold Cobra, which was too little too late. Building an empire on unbridled anger, sophomoric humor, and an obnoxious defiance born from a massive chip on Durst's shoulder, the band were on top of the world at the turn of the millennium. A charming dose of fan service, the set delivers exactly what one would expect from the kings of late-'90s mook rock: fat beats and head-smashing riffs backing Fred Durst's cheeky raps and endearingly imperfect singing.
Reaching full self-awareness with Still Sucks, nu-metal veterans Limp Bizkit stage an unlikely comeback as hard-to-hate underdogs after a decade-long hiatus.
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