Limp Bizkit stand ready to rip metal (and rap) a new one with Gold Cobra.
Durst even says "I'm gonna rip your shit like a slasher scene!" He's not kidding...
It's a vitriolic, vicious, and vital exorcism of rage from rap metal's most successful outfit. Gold Cobra is everything that it should be. It's angry, anthemic, and aggressive, and it's a result of the band's tightest and toughest playing since Three Dollar Bill, Y'all$. In fact, Gold Cobra taps into the unpredictability that made the band's debut a landmark for heavy music and opened the floodgates for Bizkit to become one of the biggest acts of the late '90s and early '00s. Bringing together the band's original lineup, Gold Cobra doesn't simply feel like Three Dollar Bill, Y'all$ 2.0, it's Limp Bizkit's most powerful offering yet, and it's bound to be remembered as a classic.
After the eerie and schizophrenic "Introbra", Limp Bizkit launches into the grinding riff chug of "Bring It Back". Wes Borland's syncopated fretwork quickly breaks into a thrash-style interlude on the verse that's as groove-y as it is gnashing. Fred Durst shouts out Slayer, and he declares war in a manner that'd make Tom Araya proud, quickly declaring the band's return. The song proves to be genuine Bizkit, and it perfectly leads into the bass-y title track. Sam Rivers' bass work boasts flourishes of jazz and funk adding another dimension to Bizkit's sound that gets slyly creepy on the chorus with the screeches of guitar on the hook. Durst flows smoother than ever locking in with John Otto's drum bounce, and you can't help but feel him as he screams, "I don't give a fuck what none of ya'll people think". That's the Bizkit we know and love and the world needs. Plus, he drops a line about Korn tying the song into the old days. However, the beautifully heavy bridge sees DJ Lethal scratching out cryptic textures as Borland leads. It goes even deeper though.
"Shark Attack" bursts out of the gate with teeth bared as Durst raises another middle finger. That middle finger comes front and center on the arena-ready "Get a Life". Durst's rhymes remain clever and catchy as he throws barbs at shit-talkers of all kinds and drops some hilarious quips—"I don't wait in line because I'm always on the guest list, anywhere I go, always sleeping with the best bitch"—before growling on his heaviest chorus yet, "Get a fuckin' life"! Borland's guitar anchors the song as the rhythms seesaw with a de-tuned madness into a polyrhythmic beat down. "Shotgun" is another stadium-filler, while "Walking Away" nods to the earthy and ethereal hum of "Re-arranged" with even more acute melody.
Everything culminates on "Killer in You". It's a tripped-out, psyched-up hip hop banger, peppered with punchy guitars and a mind-blowing solo. It's the perfect example of Limp Bizkit taking the sound they helped pioneer and preserving it while bringing it to the next level.
Gold Cobra is everything you hoped it would be, and rap and metal will be walking funny after it takes a bite out of both them.