Limp Bizkit ‘Gold Cobra’ Track-By-Track
Introbra – A distorted air-raid siren rings as Durst makes proclamations about the Bizkit’s return. At one minute twenty seconds, it has the same introductory feel as the first two Slipknot albums in that it’s distorted and gnarly and a heck of a lot darker than the hip-hop flavoured intros to Significant Other and Chocolate Starfish.
Bring It Back – A screeching riff with a club-ready, pumping electronic beat from John Otto opens Bring It Back. A more laid-back feel to the rage-filled opening tracks on the first three albums (mainly due to its slower-paced heaviness), Durst’s rhymes are packed full of his usual character and panache as he proclaims that the Bizkit are “still raining blood in the club like Slayer”. Filthy in feel and heavier in tone, it sounds totally 2011 yet unmistakably Bizkit.
Gold Cobra – Now we’re talking. The title-track is a hulking, elbow-throwing Bizkit anthem in waiting. A typically inventive sliding Borland riff and RATM-inspired rhythm section attack completely kill it on the verses. Durst rhymes with reckless abandon and lets out a chorus that has a swinging dirty south hip-hop feel to it. A clean-singing bridge feels a little like Fred’s vocal approach on Results May Vary. Put simply, this tune has swag to burn.
Shark Attack – Opening like the theme from Jaws, Shark Attack is an up-tempo rager in the vein of Break Stuff. Like prime-time Significant Other material, the energy on Shark Attack is unstoppable and all old school soldiers are going to love this like you wouldn’t believe it. Opening lyric “another one of those days”, a loud and proud “what!” backing amongst some of the lyrics and the “puff, puff, give” refrain are all shout-outs to the Bizkit’s past. It’ll be a shock if this one doesn’t become a single. Brash as fuck, this is Limp still partying like it’s 1999.
Get A Life / Interlude 1 –There’s a dark vibe all over the verses (even if the lyrical content is typically Fred) before unleashing a heavy-as-balls chorus that harks back to the ‘Stuck’/3 Dollar Bills Y’all days, featuring a screamed-vocal with distortion all over it. Durst says that he’s known by his alias “polar bear” (we’ve never called him that) and that his “flow is cold like the weather in Siberia”. It’s a varied track with plenty going on and there’s a gorgeous Borland guitar solo in the middle that breaks back into the hard and heavy chorus. Another belter. The hip-hop outro reminds a lot of the intro to Chocolate Starfish that then breaks into the doomy riff of…
Shotgun – The first finished and mixed song to be released from the album, Shotgun has a laid-back cool about it (then again, it probably should have when the main subject matter is weed!). Funky and fresh verses from the band are complimented perfected by Durst’s uncharacteristically restrained vocal delivery (something that’s certainly not the case on the vast majority of the rest of the album). The fist-pumping, riot-starting chorus is a guaranteed winner and there’s as close to a traditional guitar solo as Borland has ever recorded to close the track in emphatic fashion. Winner.
Douche Bag – Crunching and heavy, Douche Bag has got live banger written all over it. Borland’s main riff is slightly like Korn’s ADIDAS but way more up-tempo due to John Otto’s pumping back-beat. A chorus that simply screams “douche bag, I’mma fuck you up” is typically Bizkit in the dumb and fun stakes and is catchy as fuck.
There’s a breakdown in the middle that does that standard Bizkit ‘quiet-loud’ dynamic that has made rock clubs go ape-shit for the best part of the last 15 years. The jazz outro to the track is a little odd but, on the whole, this is another one certain to make fans lose their shit. When they detonate this one live, the place is going to go off like an atom bomb.
Walking Away – When released onto the web, Walking Away seemed a little flat as an isolated track but works perfectly in the context of Gold Cobra. Following Douchebag’s bum-rush assault, Walking Away is more serene and ambient and takes the sting out of the two tracks that come before it. Broody and containing no rap influence, its subtle building and dramatic solo work excellently to bring Limp Bizkit out of their comfort zone and into uncharted territory with cool results.
Loser / Interlude 2 – With an intro that’s eerily close to My Way, Loser carries the same mellow vibe as Walking Away. Rhymed verses over a subtle musical landscape has slight shades of Re-Arranged but lacks anything approaching a memorable moment. The skit ‘critiquing’ the use of auto-tune at the end of the track is pretty comedy though, which brings us to…
Autotunage – A big drum intro is followed by a “John Otto! Break it on down!” before a dirty, grimy riff kicks in. An auto-tuned Durst rap/sings over a crunchy, bouncy musical landscape. Truth be told, this one’s a little on the gimmicky side and doesn’t ever quite reach the heights that Gold Cobra ascends to in its first half. One of the lesser tracks on the album, for sure.
90.2.10 / Interlude 3 – A thrash riff to open a Bizkit track?! Believe it. It breaks into groovy verses that tell the story of Bizkit returning to the scene. It’s not the most involved track (it doesn’t have as many shades as some of the earlier tracks) but there’s a decent enough crunch to it.
Why Try – Perfect for the live environment, this is a “jump until you bang your head off of the ceiling” anthem. Major-league guitar work from Borland, a hulking riff that crushes hard and character popping off all over the track from Durst. A Bizkit classic in waiting, the difference between this and the demo released is purely in the fact that it sounds three times as big. A total classic, no doubt about it.
Killer In You – Imagine Wes Borland mangling Black Sabbath’s Sweet Leaf and you’ve got something approaching the grinding riff that’s all over Killer In You. In fact, his fret-work on this track is an album highlight, the height of which is a bad-ass middle section that involves his riffing dexterity reaching immense proportions.
Overall, GC is closest to Chocolate Strafish in term album’s production. The band never stray too far from the blueprint laid out on the first three bizkit albums but who wants AC/DC, Motorhead or Limp Bizkit to sound any different to how they always have? Aside from the odd duff moment, Gold Cobra throws out the hot shit that’ll make you bounce in the mosh pit over and over again.