Music News, Reviews, and Gossip on Idolator.com » Limp Bizkit

The 10 Worst Album Covers Of 2011

Becky Bain — Wed, 28 Dec 2011 14:00:41 +0000

Though our specialty is reviewing music, we're often distracted from an artist's tunes by their amazingly awful album cover. In 2011, there were 10 (mostly) high-profile releases with cover art so ridiculous, so badly designed, and just so straight-up weird that we had to share them with all of you. Last year, MGMT nabbed the highest honor here for their hallucinatory surf's-up-kitty album cover art for Congratulations — but even that hot mess looked like it should be hanging in a museum compared to this year's entries. Check out our 10 picks for worst cover art for albums and mixtapes released in 2011 (with one exception), and check back tomorrow for a palate cleanser of the year's 10 best. More »

Happy Birthday, Fred Durst

Maura — Thu, 20 Aug 2009 17:00:09 +0000

The Limp Bizkit frontman / budding film director / Twitterholic turns 39 today. Yes, that’s right—only one more year until the poster child for late-20th-century rage hits the big four-oh! Watch as much of this (slightly NSFW) clip of Limp Bizkit’s Woodstock 1999 performance of “Break Stuff” as you can, and take a moment to reflect on how far Fred, me, you, and everyone have come over the past 10 years. I mean, at least the vague sense of embarrassment that the lyric “it’s all about the he said she said bullshit” inspires is felt by more people now than it was then, right? [YouTube / MTV Newsroom]

The RIAA’s Newest Big-Money Playlist: Who Knew That Sharing A Limp Bizkit Song Could Be So Expensive?

Maura — Thu, 06 Aug 2009 01:00:23 +0000

Last week, a jury ordered Boston University physics student Joel Tenenbaum to pay the Recording Industry Association of America $675,000 for sharing 30 songs via KaZaA. That’s $22,500 a song, a figure that the jury decided on because they deduced that Tenenbaum’s copyright infringement had been willful—a finding that they came to in part because Tenenbaum adopted a “fair use” defense for his actions, saying in a FAQ that he thinks “Art is meant to be shared.” Tenenbaum and his legal team are preparing to appeal to the trial judge for a lower settlement—and if it’s not reached, he’ll head over to the courtroom where bankruptcy cases are settled—but for now, let’s all see what 30 songs Tenenbaum figured were OK for sharing with the old-cruddy-software-using masses.

Aerosmith, “Pink”
Aerosmith, “Water Song/Janie’s Got A Gun”
Beastie Boys, “(You Gotta) Fight For Your Right (To Party)”
Beck, “Loser”
blink-182, “Adam’s Song”
Deftones, “Be Quiet And Drive”
Eminem, “Cleaning Out My Closet”
Eminem, “Drug Ballad”
Eminem, “My Name Is”
Fugees, “Killing Me Softly”
Goo Goo Dolls, “Iris”
Green Day, “Minority”
Green Day, “Nice Guys Finish Last”
Green Day, “When I Come Around”
Incubus, ”New Skin”
Incubus, “Pardon Me”
Limp Bizkit, “Leech”
Limp Bizkit, “Rearranged”
Linkin Park, “Crawling”
Monster Magnet, “Look To Your Orb For The Warning”
Nine Inch Nails, “The Perfect Drug”
Nirvana, “Come As You Are”
Nirvana, “Heart-Shaped Box”
OutKast, “Rosa Parks”
OutKast, “Wheelz Of Steel”
Rage Against The Machine, “Guerrilla Radio”
Ramones, “The KKK Took My Baby Away”
Red Hot Chili Peppers, “By The Way”
Red Hot Chili Peppers, “Californication”
Red Hot Chili Peppers, “My Friends”

It’s worth noting that this infringement took place in 2003, and according to Tenenbaum’s side of the story he was asked to settle for $3,500 back then; only when the case started getting to court did the settlement amount snowball. I honestly don’t know what to think about his whole “David fighting the corporate Goliath” argument because I believe that artists should be paid, yet I know that the ways of the major-label system make that ideal a hell of a lot more difficult than it really should be. (And I think his “fair use” argument is a bunch of BS that was probably the result of reading some John Perry Barlow screed while up late worrying about the ramifications of his case.) This is the sort of ethical entanglement that makes people enter lives of crime because “whatever, it’s all corrupt anyway,” isn’t it?

Joel Fights Back [Official site]
[Playlist via Scribd; Scribd]

Limp Bizkit Are Rollin’, Rollin’, Rollin’ (What?) Back Into The Studio

Maura — Mon, 03 Aug 2009 22:00:08 +0000

Are you feeling sad that there won’t be a Woodstock ‘99 tribute concert? Well, have no fear: Limp Bizkit is heading back in the studio in the next few weeks! I guess the country’s mood got just angry enough for the Red Baseball Cap Of Disadvantaged White Male Rage to be brandished again—and now there are even strange dinosaur-related metaphors involved!

“It [the songwriting process] takes all shapes and all forms. We’ve written songs during shows in the last tour. Sometimes it’s spontaneous, sometimes it’s like trying to take down a Tyrannosaurus Rex.

“It’s like a pool of ideas. It’s like a bunch of finished songs that everyone’s done on their home studio set-ups. Most of the meat of the record will probably be written when we’re in a room together.”

Tyrannosaurus Rexes? Meat? Pools? Why am I getting a very serious Flintstones vibe here?

Limp Bizkit to start recording new album ‘in a couple of weeks’ [NME]

Fred Durst Wants To Show The Chinese President The Red-Baseball-Capped Side Of America

Maura — Fri, 19 Jun 2009 16:45:14 +0000

Chinese President Hu Jintao thought he was going to Zagreb for a little bit of back-slapping action with his buddies who rule Croatia. Little did he know that thanks to his travel planners picking the hotel that they did, he might have to interrupt his diplomatic plans for some serious (and possibly drunken) Gears Of War 2… or at least a little “Nookie.” [China View / Twitter]

Limp Bizkit Keep The Faith In Latvia

Maura — Thu, 21 May 2009 16:00:25 +0000

The other momentous pop occasion yesterday? Limp Bizkit’s first show in eight years, which the band played in Latvia. This dude apparently spent the whole show with his camera in front of his face, as he has what look to be clips of all 18 songs performed at the tour opener available for streaming via his YouTube account. (Former Idolator contributor / eternal Limp Bizkit expert Anthony Miccio, upon seeing the clips: “Wow, apparently they’re doing songs from Results May Vary. Wes Borland, eatin’ humble pie.”) Above, their reappropriation of George Michael’s Faith, which–along with some major-label dollars–helped push them to national prominence back in the day. Ah, to be reminded of those parts of the ’90s that no one really talks about. [YouTube]

What Are The Ingredients In This Nasty Soup We Call “Modern Rock”?

Al Shipley — Fri, 24 Apr 2009 15:30:32 +0000

Lately, I’ve been thinking about the narrative surrounding the ‘90s alternative rock boom, and how oversimplified it’s become over the years. Too often, we get a simple line like “Nirvana changed everything,” and if we’re lucky, a little follow-up along the lines of “Limp Bizkit ruined everything.” So I decided to identify the scenes, subgenres, and trends that most influenced the Modern Rock charts over the past two decades; I figured I’d come up with a dozen or so. Instead, I ended up with almost 30, which I’ve broken down below. (I’m sure in the comments we can argue about which ones I left out, or which bands shouldn’t have been lumped together.)

College Rock (U.S. Division)
Key bands: R.E.M., The Replacements, XTC, The Pixies
Era of dominance: 1988-1992
Defining hit: The Pixies, “Here Comes Your Man”
Vestigial reminder in a recent hit: R.E.M., “Supernatural Superserious”
By the time Billboard began publishing a Modern Rock singles chart in 1988, there was already a clutch of American bands getting consistent radio play. And for the first few years of the chart, jangle ruled the roost.

College Rock (U.K. Division)
Key bands: U2, Depeche Mode, The Cure, Love And Rockets, New Order
Era of dominance: 1988-1993
Defining hit: The Cure, “Wish”
Vestigial reminder in a recent hit: Depeche Mode, “Wrong”
The divergent paths of U2 and R.E.M. since the early ‘90s kind of tell the story of how American college rock’s Brit equivalent was always better suited for stadiums and/or enduring cults.

The Last Gasp Of The Old Guard
Key bands: Lou Reed, Peter Gabriel, Elvis Costello, Robyn Hitchcock
Era of dominance: 1988-1992
Defining hit: Lou Reed, “Dirty Blvd.”
Vestigial reminder in a recent hit: Elvis Costello, “Complicated Shadows”
Yeah, there was a full year or two after “Smells Like Teen Spirit” when these guys were still charting consistently, but ultimately Nirvana’s ascent killed off more than just hair metal.

The Pre-Lillith Fair Chick Singer Boom
Key bands: Tori Amos, Suzanne Vega, Sinead O’Connor, Kate Bush
Era of dominance: 1988-1994
Defining hit: Tori Amos, “Cornflake Girl”
Vestigial reminder in a recent hit: Paramore, “Decode”
Now, the only female singer-songwriters that can get Modern Rock airplay are M.I.A. and Katy friggin’ Perry, and all the girls with guitars and pianos and mainstream aspirations have fled to VH1.

Pre-Grunge Heavy Alt-Rock
Key bands: Jane’s Addiction, Social Distortion, Living Colour, Faith No More
Era of dominance: 1988-1992
Defining hit: Jane’s Addiction, “Stop”
Vestigial reminder in a recent hit: Avenged Sevenfold, “Scream”
I’m glad that these bands all at least have one signature hit I hear on the radio every week, because it’s nice to be reminded that there wasn’t some kind of vast unfilled niche between R.E.M. and Poison before Nirvana showed up.

Seattle Grunge
Key bands: Nirvana, Pearl Jam, Soundgarden, Alice In Chains
Era of dominance: 1991-1995
Defining hit: Nirvana, “Smells Like Teen Spirit”
Vestigial reminder in a recent hit: Pearl Jam, “Brother”
After the last round of tracks from Vitalogy and Unplugged In New York ran their course, the hits kinda dried up, but those four years produced the biggest chunk of recurrent radio staples of any of these scenes. And Nirvana changed everything, y’know.

The Earnest Funkateers
Key bands: Red Hot Chilli Peppers, 311, Sublime, Incubus
Era of dominance: 1991-present
Defining hit: Red Hot Chilli Peppers, “Give It Away”
Vestigial reminder in a recent hit: 311, “Hey You”
Guitar bands that throw some combination of rapping, DJing, slap bass, and groovy good-vibes balladry into their sound may be the surest thing the Modern Rock format has ever known. The demand may fluctuate, but overall these kinda guys will never go out of style.

West Coast Punk-Pop
Key bands: Green Day, Offspring, Rancid, NOFX
Era of dominance: 1993-1995
Defining hit: Green Day, “Basket Case”
Vestigial reminder in a recent hit: Rancid, “Last One To Die”
As a dedicated grunge kid, this stuff really got on my nerves at the time, but now I can admit Dookie was a pretty great record.

The Industrial-Rock Crossover
Key bands: Nine Inch Nails, Filter, Stabbing Westward, Gravity Kills
Era of dominance: 1994-1997
Defining hit: Nine Inch Nails, “Closer”
Vestigial reminder in a recent hit: Hollywood Undead, “Undead”
Après Reznor, le deluge, but most of them sucked and didn’t stick around for very long, so good riddance.

The Post-Grunge A-List
Key bands: Smashing Pumpkins, Stone Temple Pilots, Weezer, Foo Fighters, Radiohead
Era of dominance: 1993-present
Defining hit: Smashing Pumpkins, “Today”
Vestigial reminder in a recent hit: Weezer, “Troublemaker”
Once Cobain checked out and Pearl Jam set about becoming the world’s biggest cult band, there were a lot of guitar bands of widely divergent sounds and origins angling to fill the void, intentionally or unintentionally. But only a handful ended up with a sustained, successful run, and a large permanent fanbase, if not a Nirvana-sized legacy. Some of these bands are still chugging along like efficient hit factories; some of them could probably easily make hits again whenever they get their shit together to do so.

One-Album Wonders
Key bands: Bush, Live, Third Eye Blind, Candlebox, Soul Asylum
Era of dominance: 1994-1996
Defining hit: Live, “Lightning Crashes”
Vestigial reminder in a recent hit: Gavin Rossdale, “Love Remains The Same”
These are the bands that briefly joined the above described A-list, landing four or five huge hits off of one album (usually but not always their debut), but proving unable to hack it in the long run. They’re the ones with ‘greatest hits’ albums that are 60% comprised of songs from the same album.

Rappin’ Whitey
Key bands: The Beastie Boys, Beck, Everlast, Eminem
Era of dominance: 1988-present
Defining hit: Crazytown, “Butterfly”
Vestigial reminder in a recent hit: Asher Roth, “I Love College”
One of the sturdiest constants in the history of Modern Rock radio: If a white guy decides to rhyme over guitars, one drop of airplay guarantees years of request line calls, whether it’s the Flobots or Dynamite Hack’s version of “Boyz In The Hood.”

The Indie Rock Bubble
Key bands: Sonic Youth, Pavement, Dinosaur Jr., Meat Puppets
Era of dominance: 1990-1994
Defining hit: Pavement, “Cut Yr Hair”
Vestigial reminder in a recent hit: Silversun Pickups, “Panic Switch”
I can remember very clearly in the summer of 1994 being inundated with Green Day and Offspring, and finding solace in the occasional spins of “Bull In The Heather,” “Feel The Pain,” “Backwater,” and Frank Black’s “Headache” that kind of pointed the way towards what I’d spend a lot of the next few years listening to.

The Birth Of Adult Contemporary Alternative
Key bands: Counting Crows, Collective Soul, Goo Goo Dolls, Matchbox 20
Era of dominance: 1993-1996
Defining hit: Verve Pipe, “The Freshmen”
Vestigial reminder in a recent hit: Counting Crows, “When I Dream Of Michaelangelo”
Like the female singer-songwriters that preceded them, these candy-asses ruled alt-rock airwaves for a few years; when got a little too schmaltzy, Hot AC was waiting for them with open arms.

Stealth Hippies
Key bands: Dave Matthews Band, Blues Traveler, Spin Doctors, Phish
Era of dominance: 1991-1996
Defining hit: Blues Traveler, “Runaround”
Vestigial reminder in a recent hit: Dave Matthews Band, “Funny The Way It Is”
For a while they blended in with the alt-AC crowd, but eventually we heard the noodling and smelled the patchouli, and made them get their own Lollapalooza.

Britpop’s Failed Invasion
Key bands: Oasis, Blur, Elastica
Era of dominance: 1995-1997
Defining hit: Oasis, “Wonderwall”
Vestigial reminder in a recent hit: Snow Patrol, “Take Back The City”
Cool Britannia came over here with a full head of steam, but other than a couple of ballads by the monobrowed Gallagher mooks, it never really translated to stateside success. Meanwhile, Damon Albarn’s shots at American radio recurrent immortality were a 2-minute blast of Big Muff riffage and some hooks he sung while dressed up as a cartoon monkey.

Alternapop
Key bands: Sugar Ray, Smashmouth, Fastball, Semisonic, Everclear
Era of dominance: 1996-1999
Defining hit: Smashmouth, “Walking On The Sun”
Vestigial reminder in a recent hit: The All-American Rejects, “Gives You Hell”
Former Idolator regular Anthony Miccio likes to throw around this term a lot, and it’s effective enough that I’m going to go ahead and nick it from him here. In the aftermath of arty collage-types like Beck and the Beastie Boys, we suddenly got a lot of goofballs in shades making shiny videos directed by McG, with clunky hip hop-inspired beats and laid back riffs. The summer of ’97 was pretty horrific if you ask me, but a few of these songs have aged well.

Third Wave Ska
Key bands: The Mighty Mighty Bosstones, No Doubt, Reel Big Fish, Save Ferris
Era of dominance: 1995-1997
Defining hit: The Mighty Mighty Bosstones, “The Impression That I Get”
Vestigial reminder in a recent hit: Uh…. none.
No Doubt only had one foot on board to begin with, so it was easy for them to jump ship to superstardom while everyone else more committed to skankin’ went down with the boat.

The Godforsaken Swing Revival
Key bands: The Cherry Poppin’ Daddies, Big Bad Voodoo Daddy, The
Squirrel Nut Zippers, The Brian Setzer Orchestra
Era of dominance: 1997-1998
Defining hit: The Cherry Poppin’ Daddies, “Zoot Suit Riot”
Vestigial reminder in a recent hit: …
Thing is, the ska bands didn’t seem that bad once these guys came along.

The “Electronica” Revolution
Key bands: Prodigy, The Chemical Brothers, Fatboy Slim
Era of dominance: 1997-1999
Defining hit: The Prodigy, “Firestarter”
Vestigial reminder in a recent hit: another dead end here
Obviously, the last decade of car-commercial beats and critical love for minimal techno confirms that Americans weren’t actually afraid of this stuff–but the attempt to retrofit it for stadium rock that was a bit wrongheaded.

The Punk-Pop Resurgence
Key bands: Blink 182, Sum 41, New Found Glory, Yellowcard
Era of dominance: 1997-2004
Defining hit: Blink 182, “Dammit”
Vestigial reminder in a recent hit: All Time Low, “Dear Maria, Count Me In”
During the years when Green Day’s popularity waned and The Offspring briefly became a weird Alternapop novelty band, a new breed of slightly more goofball pop-punk took over, with increasingly nasal vocals that set the stage for emo’s bid for the mainstream.

Rap Metal
Key bands: Rage Against The Machine, KoRn, Limp Bizkit, Kid Rock, Linkin Park
Era of dominance: 1996-2002
Defining hit: Rage Against The Machine, “Killing In The Name Of”
Vestigial reminder in a recent hit: Linkin Park, “Bleed It Out”
The earnest white rappers and alt-funk bands are still going strong, but I think this scene can be safely called over. Rage reunited, but just to play shows; KoRn and the Bizkit are irrelevant; and Linkin Park and Kid Rock are still making hits, but with as little rapping (or metal) as possible.

Grunge, the Second Coming
Key bands: Creed, Nickelback, Puddle Of Mudd, Seether, Staind, Godsmack
Era of dominance: 1998-present
Defining hit: Creed, “Higher”
Vestigial reminder in a recent hit: Shinedown, “Second Chance”
This lot has a cockroach-like resilience that their Seattle forebears never had, which is a shame for the rest of us.

The Return Of Sunset Strip Decadence
Key bands: Hinder, Buckcherry, Saving Abel, Theory Of A Deadman
Era of dominance: 2005-present
Defining hit: Hinder, “Get Stoned”
Vestigial reminder in a recent hit: Theory Of A Deadman, “Bad Girlfriend”
Motley Crue hasn’t quite reached the Modern Rock chart yet, but it’s filled with bands who tour with them and who, for all intents and purposes, have just updated their whole style for the wallet chain era.

”The” Bands
Key bands: The Strokes, The White Stripes, The Hives, The Vines
Era of dominance: 2001-2002
Defining hit: The Strokes, “Last Nite”
Vestigial reminder in a recent hit: Kings Of Leon, “Sex On Fire”
Rock came back! And then it went away again, except for the White Stripes.

Crossover Emo
Key bands: Fall Out Boy, My Chemical Romance, Dashboard Confessional, The Used, Jimmy Eat World
Era of dominance: 2002-2007
Defining hit: Fall Out Boy, “Sugar, We’re Going Down”
Vestigial reminder in a recent hit: My Chemical Romance, “Desolation Row”
At one point, it seemed like emo–or at least a bunch of bands who get called emo but inevitably deny the charge–would take over. But Fall Out Boy went pop, MCR went classic rock, and most of the other bands that landed a few hits are ice cold now.

The 21st-Century Indie Bubble
Key bands: Modest Mouse, Death Cab For Cutie, The Yeah Yeah Yeahs, Arcade Fire, Interpol
Era of dominance: 2004-present
Defining hit: Modest Mouse, “Float On”
Vestigial reminder in a recent hit: The Airborne Toxic Event, “Sometime Around Midnight”
It’s hard to tell whether this bubble will last longer than the one that Dinosaur Jr. and Pavement benefited from a decade earlier, but the Pitchfork-to-KROQ farm team system seems to be getting only stronger over time.

The New VH1 Wuss-Rock Vanguard
Key bands: Coldplay, The Fray, The Killers, Maroon 5
Era of dominance: 2002-present
Defining hit: Coldplay, “Clocks”
Vestigial reminder in a recent hit: The Killers, “Spaceman”
Unlike Oasis and the Goo Goo Dolls, Coldplay and the Killers have found the trick to Modern Rock longevity: A palatable amount of U2-style artiness.

Hard Rock Dinosaurs Sneaking In The Back Door
Key bands: Metallica, AC/DC, Guns N Roses
Era of dominance: 2008-present
Defining hit: AC/DC, “Rock’n’Roll Train”
Vestigial reminder in a recent hit: Metallica, “Cyanide”
The once-thick line that divided alternative stations from “active rock” stations officially went from blurry to nonexistent last year, when these bands all showed up on the Modern Rock chart, most of them for the first time. If the chart doesn’t exist a few years from now, this will be why.

VITAL UPDATE

Maura — Fri, 10 Apr 2009 09:59:00 +0000

Fred Durst will wear his red cap on the Limp Bizkit reunion tour. Someone get Buddyhead on the case! [Twitter]

April F-F-F-Foolin’: The Following Stories Are Not True, So Don’t Fall For Them (Not That You Would, You Smarty Pants)

Maura — Wed, 01 Apr 2009 02:00:00 +0000

Aside from holidays where major news events happen, thus disrupting one’s chance to actually get away from her laptop and have a life, April Fool’s Day is probably the most annoying 24-hour stretch on the professional blogger’s calendar, thanks to everyone on the Internet thinking they’re funny. Despite that not really being true! After the jump, a running tally of pranks from various music-related entities; it’ll be updated throughout the day, because Lord knows I need to do something with all the “comedy” clogging up my RSS reader right now.

Bjork joins Led Zeppelin. Points for the sorta-convincing Photoshop of Lady B with Page, Bonham, and Jones. Extra points for claiming that she inserted an “only songs from I and IV” clause in her contract. And bonus extra points for being something I would actually want to hear. This wins the Internet for today, I think. [Bjork.com]

Nine Inch Nails‘ new album. “To download NIN’s new full-length album Strobe Light, PRODUCED BY TIMBALAND, enter a valid email address in the fields below. A download link will be sent to you immediately. Your credit card will be charged $18.98 plus a $10 digital delivery convenience fee. Your files will arrive as windows media files playable on quite a few players with your name embedded all over them just in case you lose them. You will also receive an exclusive photo and a free email account with our partner Google’s Gmail service.” Chris Cornell’s Twitter unavailable for comment. [nin.com, although be warned: I think the tag usage is going to give me a seizure.]

Comerica Park is being renamed Kid Rock Field. Not going to lie: If a friend of mine hadn’t sent me this in a “hey, did you see this April Fool’s joke?” context, I would have believed it, what with the home of the Detroit Tigers currently being named in honor of a bank and all. (If only an enterprising Mets fan had thought of this first…) [KidRock.com; HT Pat]

Peter Bjorn And John Shreds. 5.5? [YouTube]

Marty Friedman joins Limp Bizkit. Had me going there for a second, thanks to the excellent mimicry of Fred Durst’s Twitter “style.” [MetalSucks]

“Warner Bros. Acquires The Pirate Bay.” “when i first read this it scared the shit outa me but then i looked at my calender and was sooooooooooo relived when i saw that it was april 1st. i almost had a heart attack you guys! come on not cool!!!! lol oh yeah, and 13 billion dollars??? in this economy??? yeah right WB’s aint doing shit lol” See what happens when you indulge geeks? Do you see? [The Pirate Bay]

“Deicide Frontman Converts To Christianity.” Not all that original in the grand scheme of Crazy Confessions; claim that the conversion was announced “on the band’s Web site” would have probably been a little funnier if the actual Deicide site wasn’t currently redirecting to a domain squatter. [Metal Underground]

Ethan Hawke profiles Kris Kristofferson for Rolling Stone. Oh, wait, that isn’t a joke? Huh. [RS]

The Bizkit’s Back: Fred And Wes Kiss And Make Up

Maura — Thu, 12 Feb 2009 02:00:00 +0000

Limp Bizkit—the nu-metal poster children who, with the help of a George Michael song and a red baseball cap, captured the rage of a particular subset of baseball-cap-and-baggy-pant-wearing young men in the late ’90s—are going to record an album and head out on tour this spring, the first time the original lineup has been together in eight years. Did you know that the band’s first three albums have sold more than 20 million copies? I suspect the fourth one will not boost that total by a substantial amount, but I may be wrong, because there are a lot of angry people out there. (Although a lot of that general frustration does come from people having no money to buy frivolous things like Limp Bizkit albums. Hmm. Social experiment!)

Fred Durst nearly gave away the “surprise” on his Twitter last night. How will nu-metal cope with the Web 2.0 age? Perhaps this joint statement from Durst and guitarist Wes Borland can provide a hint:

“We decided we were more disgusted and bored with the state of heavy popular music than we were with each other. Regardless of where our separate paths have taken us, we recognize there is a powerful and unique energy with this particular group of people we have not found anywhere else. This is why Limp Bizkit is back.”

Oh boy! Expect lots of peevish Twitters about Shinedown and Seether in the coming weeks!

Limp Bizkit [Official site]