A Gold Cobra With Bite

By Kendra Dykman


Limp Bizkit’s latest instalment, Gold Cobra, released June 2011,
provides the same hard hitting attitude that their previous albums
have, so their fans wont be disappointed that they have become too
commercial, like many other bands in their genre have been said to
have done.  The album also sees the return of guitarist Wes Borland,
who has not worked as part of the band since 2000.

For someone that doesn’t listen to the band regularly, many of the
first songs on the album sound very similar, however, as the album
progresses the songs each start to show their own personality, and
reflect Limp Bizkit’s anarchic stance towards commercial products.
This can be seen particularly in the interlude preceding
Autotunage where they poke fun at the way that many artists today
are using Autotune in their song production. They “lay it down Limp
Bizkit style with the autotune”, singing “over some heavy metal”
in Autotunage, producing a fun yet rocking track.

The album lives up to their counter-culture ideas that seek to get
people out of their pre-mould, pop-fed, chart-topping, moneymaking,
fake boy bands and such, encouraging listeners and other musicians to
grow their identities out of mainstream culture dictatorship. It
features such songs as Get a Life, a sort of metal take on the
superficial lyrics of many rap or hip hop songs which highlight the
importance of alcohol, girls and nice cars.

Some fans feel that Limp Bizkit put rap metal on the map and serve as
the forefathers to such a genre, and are glad to see the band reunited
after 6 years of silence. Fred Durst claims that this is not the band
reuniting, but rather the band taking yet another stand after
realising that they were “more disgusted and bored with the state of
heavy popular music than we were with each other

The singles released on the album thus far are Gold Cobra, an
entirely random name that is also attributed to the whole album,
Shotgun, which emphasises the fact that Limp Bizkit really
“don’t give a” damn what others think of them, and

The whole album isn’t persistently angry. After Douche Bag, the
listener is allowed an opportunity to softly contemplate the
consequences of “walking away from the things we adore” in
Walking Away, followed by memories of the past in Loser.

The album is packed with much of their usual punch, sticking to the
inclusion of profanities that emphasis their rage against society.
While it is great that they haven’t taken the commercial route, the
album does seem to lack originality, but you decide: do you prefer
knowing who is performing or do you prefer a band to stray away from
the reasons you enjoy their music?


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