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Aber malen kann er echt gut.

http://www.theborlandgallery.com/gallery.htm

ja gut, da fehlt mir jetzt das kunst-auge um das zu bestimmen XD

http://www.theborlandgallery.com/gallery.htmlarry underwood, 17.06.2009 12:29

Ein Akt seiner Frau, oder?
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Die Dame links im Bild
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Für die, die es genau wissen wollen
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Edit:
Für Dezember ist ein neues Album angedacht, wird sich sicher noch hinausziehen und erst dann, wirklich erst dann finde ich kann man sagen, die Jungs könnens noch, oder nicht.

Nochn Edit:
Ich hab meinen Eingangspost wieder mal gelesen und da scheint mich die Muse geküsst zu haben. Das liest sich gut finde ich
RocknRolla

Zuletzt geändert von RocknRolla 17.06.2009 17:16

Ha mir die Significant Other und Results May Vary nun auch mal für billig zugelegt, hm, geht so...

die erste ist gut, die zweite nich so dolle :)

choclate starfish sollte man haben, den rest kann man sich an sich schenken!
zumindest ist da mit boiler der beste LB song drauf

Soweit richtig, allerings ist als Album "Three Dollar Bill, Y'all!" besser.

Von Results May Vary bin ich überascht, finds ziemlich, naja... musikalisch und abwechslungsreich, hätte ich so nicht erwartet.

Soweit richtig, allerings ist als Album "Three Dollar Bill, Y'all!" besser.

musikalisch ist das schon ein wenig was anderes! ich vergleich die platte ungern mit denen die darauf kommen ;)

Guter Auftritt in Rumänien. Wes haut ordentlich in die Seiten. Lustig aber, wie er in Minute 3:17 den Fan auf Abstand hält

Soweit richtig, allerings ist als Album "Three Dollar Bill, Y'all!" besser.Drunken Third, 30.06.2009 10:59

Wiklich? Ist für mich immer noch eines der schlechtesten Alben aller Zeiten. :) (zumindest in meiner ungefähren Richtung)

Die Jungs müssen eine neue Richtung einschlagen. chocolate starfish war ein masterpiece. leider würde solch eine platte heutzutage floppen. the unquestionable truth part 1 war ein einziger haufen crap. gerne würde ich nochmal sowas auf die ohren bekommen wie results may vary. viele lieder waren melancholisch und hatten gute texte. es war auch nicht mehr so ein numetal kram wie zuvor. es war einfach imo gute musik auf dieser grünen scheibe.
ich bin zwar großer lb fan und steh auch auf das alte numetal zeug. allerdings wünsche ich mir auch dass die jungs sich weiterentwickeln und endlich wieder die massen ansprehcen können.

die erste ist gut, die zweite nich so dolle :)

choclate starfish sollte man haben, den rest kann man sich an sich schenken!
zumindest ist da mit boiler der beste LB song draufMaxVonThane, 30.06.2009 10:40

Also ich finde, rein subjektiv natürlich, dass die "Significant Other" da schon wichtiger ist, als die "Chocolate tarfish", die eher wie ein Plagiat der erstgenannten klingt. Mir ist der Titel jetzt entfallen, aber auf der "Chocolate" ist ein Song der 1 zu 1 über "Rearranged" gelegt werden kann.

"Significant Other" war damals total innovativ, vor allem nach der "Three Dollar Bill Y´all".

Wie gesagt, natürlich alles subjektiv gesehen.

Band geht diese Woche ins Studio und macht sich an ein neues Album. I'm fucking delighted.

Die Band ist im Studio gelandet

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On Sunday 25th October 2009, @freddurst said:

LB News- we have recorded what we feel is our most addictive album yet - instrumentally. I am in process of doing vocals now in my home studio. So far I am 4 songs deep and moving along w confidence and grace.

We haven't committed to an album title yet, but we know of one we like. Release date will be a soon as I am finished. A single and video will be our way before that.

We want to get to South America, etc asap and hit the US and Canada with the big finale. We will go worldwide w this tour and have been asked to headline most of 2010 festivals.

Merch store is launching very soon w new website - limpbizkit.com - the LBF Army is all we need - YOU - to spread the word. It is time. Bring it!! More news soon.

Quelle

Na dann bin ich mal gespannt

Bin beim Armpit Forum über diese Analyse der Mitglieder von User Steve gestolpert und finde das gut gemacht, so dass ich es mal hier weitergebe

Wes Borland - Gitarrist

I decided to make this the "Individual Limp Bizkit Member" Analysis Thread.

Well, we already did Fred. Now, we're going to do that crazy sumuvabitch Wes Borland.

I love Wes Borland to death. He's very different from the rest of Limp Bizkit. That much was obvious. I remember thinking all the way back to before he left the band the first time, "This guy's on another tip." Honest truth, if Limp Bizkit ever disbands, he has a career thereafter. He's in demand. Korn wanted him, Nine Inch Nails wanted him, Marilyn Manson wanted him. I don't care what anyone says. I sincerely do believe him to be one of today's greats. He's just so...UNIQUE. He's an artist; a true artist. He adds to Limp Bizkit's live show with his costumes and makeup, always surprising people as to what he'll look like next. He is a man of many faces. Wes Borland is just...interesting. He really is. It makes me proud that he gave his talent to Limp Bizkit. People always criticized him for serving his God-given talent to a band many felt were half-assed. Wes even admits to not really enjoying Limp Bizkit's music for the most part, but whether he likes it or not, LB is the band he'll be remembered for. I personally don't think that's a bad thing, but hey. He is just as much the icon as Fred is. I'm so happy and glad to have him back. He is definitely the other half of Limp Bizkit.

Without further ado, I give you Wes Borland's greatest moments in Limp Bizkit's music:

The clean lick on the third verse of "It'll Be OK"
I love how he can fit all of those notes together in such a short length of time. It's catchy, too. I like the main part of that song, too. It's very infectious. Sometimes, I like Wes better when he plays clean notes. Whenever he plays clean notes, it's ALWAYS immediately infectious. He has a knack for making catchy tunes to grip your ear immediately. God bless him for that.

the main lick on "My Way"
Simple as hell, but it gives the song a hypnotizing feel. I also love the tune he plays on the bridge of the song. That's Wes jamming.

WHY!!!?? and Wes answers...
At the end of "Boiler", as Fred screams his heart out, Wes just pulls the effects out of his guitar, a different one each time. This is his ambiance at the top of his game. It really helps give the song that urgency.

the bridge of "Hold On"
Ambient Wes strikes again. There's a moment in the song where Wes shines, and there is no singing. It's right after the second chorus. That's just...beautiful. It gives it that spiritual feel.

the main riff of "Hot Dog"
Soon as it kicks in, you know, "Awwww shit...." When Wes comes out with the heavy, he knows how to amp you up.

the build-up of "Pollution"
The parts where Fred says, "When do you decide to know in your mind?" Listen to that riff. Wes is just shredding away, little by little anticipating the killer chorus. And then he just explodes with it. But it's the anticipation that gets me. It's something to gnash your teeth to, to get your fist shaking.

the verse riff of "my Generation"
Fred shouts out "Do you know where you are?" and Wes is just hitting that axe. It's not a huge moment for him talent-wise, but...it was just a solid move for flair.

the bridge riff of "Break Stuff"
After the second chorus, Wes starts off with little oomphs, then builds it up little by little...and then oh my god. He lets it out. This is a classic for sure.

the chaos of "Stalemate" at the end
At the end of "Stalemate", the band reaches its highest point of going berzerk, as each member sounds like he's not even playing in sync with the rest of the band, and yet they are. Wes especially shines here, as he plays a vicious rendition of the riff he was playing before. He switches it up and you don't even notice. Then, he caps it all off with those effects dripping like rain over a storm just calming down...Loved him there.

oh so spiritual "Everything"
Listen to him just solo, man...oh man...you just feel like a piece of paper floating in the wind.

Wes freestyles on the third verse of "Re-arranged"
I love how on the third verse of "Re-arranged", Wes just starts playing whatever comes to mind right before the heavy part kicks in. I say freestyle, because he plays that part different on every live version I've seen of the song. A true guitar man.

Don't Go Off Wandering
His entire performance on the song, from the airy tunes during the clean parts that make the song just singe with emotion (its almost like the guitar's singing, not Fred)...and how the song just changes tune as he brings out a riff that sounds like it can fit on a horror film. He's on fire during that song. He gives that song ATMOSPHERE. He carries the song instrumentally.

Really, Wes is a great guitar player. Those are the only moments I can think of right now where he truly shines. Really, I can't think of anything negative. But then I'm no guitar player.

Here are some more "best Wes moments in LB music" nominees:

the opening notes on "Counterfeit"
So dark, so haunting, so menacing. It's foreboding, almost as if to let you know that the monster's about to come. Wesley Louden Borland is the man who first sounds the call. I love it. Then, of course, he puts his distortion on and it's pretty much the main riff of the entire song, which is always a classic. However, I was always a fan of the opening notes.

the main lick on "Sour"
Wes does the double-tap, and I think this was the first song to show that he wasn't just some guitar player. Once you heard this, you knew that Wes wasn't just any axeman. I mean, dude...listen to it. Haha! It sounds like ants scrambling all over a piece of bread and eating it in fast motion, and then disappearing.

the bridge riff of "Just Like This"
John starts the song off, and once Fred announces "like this!" there's our Wesley: jamming it out. This is a side of him we don't see often. The riff sounds optimistic rather than dark, but it's such a great riff to let you know that the party's getting started. It fills you with that power. It's Wes that makes it happen.

the lick on the third verse of "Nookie"
This is my favorite part of the song, and it's partly because of Wes. Up to now, Nookie was hip-hoppin' and rockin', but then the song unexpectedly slows down and turns into something else. It's hypnotizing, it's gripping, and it let you know that Limp Bizkit was not just any band. Who else would do something like this? It was totally unexpected, and with Wes there to just give that part of the song its menacing feel...once you hear that, your fist closes up, your eyes close, you sing along with every word, just letting the music sweep you away...and then as soon as Fred belts it out louder: "Just LEAVE ME ALONE" -
[size=7]BAM!![/size] Wes...thank you.

Trust?
The whole song. I love how when it starts, Wes plays it like a country song, and then it just rolls over, rattling your head with the heavy. Then, the music stops except for Wes, and he does a small build-up and BOOM. ("A one-two, A one-two, A one-two, what the fuck you gonna do!?). I hope you guys know what I mean. Limp Bizkit have a knack for flair, and Wes really stepped up on that one. I love how there's an overdubbed track of Wes just hitting a high note. It gives the main riff an extra push for panic; it enunciates the frenzy. It lets you know, "Hey, man...get that ass MOVING!" Then, on the verses, he's just crushing. Over your head again and again, each riff feeling like your being hit in the head repeatedly with a hammer. I think "Trust?" is heavy Wes at his best.

the main lick on "The One"
Soon as you hear that first note, it's as if the song's telling you: "Slow down, son. This is a chill track; something for the ladies." It's so soothing, and it really makes you want to lay down and reflect. It gets you ready for the story, I suppose. It's a classic example of Wes decorating the stage for Fred to tell his story.

The Truth
I love his opening notes on "The Truth" while Sam plays away on the bass. It sounds like a police siren almost. The monster is waking back up...
I think he uses a whammy bar on the verses. I love how unexpected it is. He starts off all badass, and then plays those high notes to give the song urgency. The song is truly a cause for alarm, and Wes gives it that feel along with Fred's lyrics. It's not repetitive and it's very refreshing to hear something like that. It's not something you hear everyday.

the verse riff on "The Story"
It's very simple, but very militant. It pushes the song forward. The way the entire song's structured has Wes just pushing forward. He doesn't stop once throughout the entire song. It's about pushing pushing pushing. It's the most relentless song Limp Bizkit's ever made, and it's because Wes just doesn't stop on the axe. That riff always gets me. It's one of my favorites by him.

Shit, viel zu lang mein Text. Ich kürz deshalb mal etwas runter ^^ Man verzeihe mir die Doppelposts, aber das Leseerlebnis soll entschädigen.
Der Teil über Sam Rivers - Bassist

SAMMY.

Ladies and gentlemen, Sam Rivers, the bassist of Limp Bizkit. Sam is a very unique bassist. Why is that? Limp Bizkit incorporates hip-hop into their music, and so Sam just doesn't follow Wes around. He's allowed to come up with his own basslines, and Wes just plays over them. Most bassists in rock bands are just stand-ins; borderline session musicians. They're only there because they're needed. However, Sam is not one of those low end players. He's a true rocker with that four-string thingie. He's actually just as much fun to listen to as Wes is. He gives Limp Bizkit its groove (along with John), and he supplies the band's thunderous rage underlying Wes's guitar. He composes melody that sets the mood for a laid back track. Sam truly sees his instrument as a way of expressing himself, complete with his own unique sound. I don't know where Limp Bizkit would be if I didn't hear that "BLOOOOM" sound out of nowhere. It's him. I don't know how bassists distinguish themselves from eachother, but I honestly think I would know Sam just by hearing him.

Yes, indeed...Samuel Robert Rivers is not an average bassist at all. Boy's got skill. That being said, here are his best moments in Limp Bizkit's music. Unlike the other guys, with Sam you have to listen closely. I mean, come on, who pays attention to the BASS, you know? haha! It's the least popular instrument in rock music. However, if you listen closely, you'll see that Sammy is every bit the man I make him out to be. So, here we go:

COUNTERFEIT
There are two basslines in Counterfeit that I love. The first is during the verses. Sam plays like a beast on that part. I didn't really appreciate that part until I saw him play it on live videos. His fingers were ALL OVER the strings. Madness. Also, the second part when the music slows down after the second chorus. Sam brings in a melody that switches the song's dynamic completely. It's so damn soothing and catchy, it's almost a shame it has to end, haha.

STUCK
Sam does something on this song that we never see him do much of again in LB's music. He gets a little jazz jam session thing going on after the second chorus. It's nothing special, but I just think it shows his diversity. I love that part. Makes you wonder what else he could play.

NOBODY LOVES ME
The soft part. Enough said. Sam actually stands on his own and gives the song a somber interlude and ending. It's a beautiful moment and it helps give the song its power.

STALEMATE
Sammy Boy gets down on this song. You can't really hear him on the opening instrumental, since Wes is all over that, but he plays a really cool line to give the mellow part its foundation. It sounds like the fluttering of wings. Then, when the song starts getting energetic, I love that twangy sound he makes. I thought it was Wes at first, but it's actually him. Really gives the song a sense of impending doom...

EVERYTHING
I actually feel really bad for Sam on this song. He's the only member who doesn't get to switch it up. Fred sings and makes noises all over, Wes is just playing his heart out, John switches up how he plays the beat, and Lethal with all his crazy sound effects...but Sammy just plays the same thing over and over, haha. Still, he put out a line that will ring in our heads forever. I love how he opens up the song up, and lets it little by little fall into the main tune. That part really gives the song its emotional turmoil. You could almost see flashes of memories just go in and out as that song opens up...

BREAK STUFF
The third verse. "I hope you know I pack a chainsaw"...listen to Sam as soon as that word is uttered. He starts off playing lower...than louder...and before you know it, he's just hammering it out right before stopping on "break your fucking face tonight!" I LOVE that part. I love it to death. He's loosening up the frets little by little until he's just coming with it right before the song even explodes.

RE-ARRANGED
Need I say more? It's HIS song. All over. He carries the entire song.

FULL NELSON
The melodic part. I can't hear it clearly cause of Fred and Wes, but I can hear parts of it and it sounds really cool. I wish I could listen to it clearly. Sam plays what sounds pretty complex and also beautiful. Like I said before, this is why I love him so much. He's his own player. Alot of bassists get free rides. Not him.

MY WAY
I love his lines on the verses. It sounds all crazy and yet calming. Another example of Sammy doing it like that. It gives "My Way" its relaxing feel, even when he gets crazy.

LIVIN' IT UP
"cause it's so easy to tell a lie..." That part. That's my single favorite bassline from him EVER. He gives that part its conviction. Maybe you thought it was Wes, but he's actually playing a simple riff. It's Sam who gives it that booming punch. Listen closely. You'll see what I mean. But that line is Sam at the top of his game. I love it to death...

THE ONE
He's grooving on that song. And I love it when Sam grooves. He always comes up with something catchy and bob-worthy (head-bobbing, I mean). He compliments Wes's melody very well. Some of my favorite LB parts are when our two axemen are playing two different things completely.

BOILER
The line on the verses. He pretty much made a whole song by himself. Impressive. Very impressive. He plays that line only twice while Fred raps. It's a real expansive piece of work, and I'm amazed every time I hear it. Fuck, dude, Sam is the BOMB! :worship:

EAT YOU ALIVE
Sam is heavy as shit and soft as hell...he brings both sides of him out on this ditty. You could just feel his hunger on the heavy parts as he booms on your speakers, and then he slows it down for the ladies...I like that. He brings heat on that song.

John Otto - Drummer

John Otto.

The drummer of Limp Bizkit. He gives Limp Bizkit the hip-hop groove that can make their heavy parts oh so heavy. Sounds like an oxymoron, huh? However, it's true. Nobody can quite understand it, but John's way of drumming really gives Limp Bizkit its signature sound along with Wes's eclectic playing, Sam's melodic playing, and DJ Lethal's...stuff. He adds in bits and pieces of improvisation in each beat he does, which makes him very interesting to listen to. He always sad that his goal in Limp Bizkit's music is to sound like a drum machine, and he does it very well. The cymbals, toms, and snares all suffer the wrath of the Ottoman as soon LB hits the stage. Maybe it's John who gets me to bang my head or do the "rooster head movement", I'll never know. However, we missed him on The Unquestionable Truth, and I think that's where we realized that he's actually a big part of their music. The drumming just sounds so plain when it's not him behind the kit. To be honest with you, I don't think he's showing off all he could do in Limp Bizkit. Hopefully we'll see the day where we'll see him at his apex, but for now...

Here are John Otto's Greatest Hits (heh heh, little joke there)

COUNTERFEIT
Whenever I listen to the chorus, I always try to listen to what John is playing because he does so many fills. The fills make the chorus sound awkward, and at the same time it makes the song come alive. I love listening to it. It sounds so fresh. It's also one of the reasons why I say I don't think John is playing all he could play with Limp Bizkit.

STUCK
I love how he keeps the chorus alive during Fred's scream "You take a dash for my cash..." I love that little double bass hit he puts in there. It keeps the song frantic and running without the guitars. It's pretty simple, maybe, but I just really love that aspect of the song. When the guitar stops, the song keeps going and it's John that's responsible. I also love that jazzy swing beat he brings out after the second chorus. He used to be in a jazz band, right? Once again, Otto, what else can you do there?

NOBODY LOVES ME
I love how he changes the tempo of the song with the slow part. I wonder if that was his idea. Anyway, that's one of my favorite LB moments since it sounds so appropriate and natural. I also like how the snare was recorded to sound like a tin can. Gives it a raw stripped down feel. It really makes you feel naked.

STALEMATE
I love the funky beat he plays on the verses. It starts right after the first part of the song ("It's not my mind"). I love how jumpy it sounds. It's not a beat you would use normally. I'm just saying that John clearly thinks about what he can do with his drums other than just play a simple 4/4, you know? Also, the very end of the song, when the tune reaches its apex of insanity...listen to John. It sounds like he's just banging away randomly, not even playing his drums. However, it makes perfect sense if you listen closely. I remember though thinking that it was John who brought it to me first. "Dude, what are they doing?" It's one of LB's tripped out moments. Good on you, Mr. Otto.

EVERYTHING
This is probably one of his best moments in terms of displaying his talent. Throughout the entire song, John is playing a 4/4 beat, but each time he does something different. He adds something new and he keeps his playing fresh. I remember just being astounded by that. I'm telling you, he's definitely not showing his all...I would love to see him do more improvisations with LB's music.

JUST LIKE THIS
Eh, just the opening. You all know what I mean. As soon as you hear that beat, you know it's on...You better run to the barricade there, boy.

RE-ARRANGED
I really like how after the song's finished, John just keeps playing. I just really like how he keeps soldiering on with those drums, and he does those mini-improvisations again. It's just a really good part from him. I love the conclusion, just a huge CRASH.

9 TEEN 90 NINE
"What we need is a place to escape from TODAY!!" [size=6]BAM![/size] Then, John hits us with a speed that takes the song to a new realm of heaviness. I don't know if when they made the song that John made the beat to fit a riff that Wes wrote, or if Wes wrote the riff to fit John's beat, but whatever. I really love that part. I just really like the rhythm. It's a mosher for sure. It sounds crazy. Crazy is good, Limp Bizkit does crazy very well.

small note before I begin Chocolate Starfish
John tinkers with his cymbals alot on this album. He gives them those little "tinks", those fairy dust sounds. I hope you guys know what I'm talking about. I really appreciate that fact. It gives the song's atmosphere, and it definitely increases the ambiance in the guitars when the song comes together. So, I just wanted to put that in there so you'd all notice and give props. "The One", "It'll be OK", "Hold On", "Boiler." Thanks, John!

MY GENERATION
The introduction. Some people say that he ripped it off from Led Zeppelin's "Immigrant Song", but while the two beats sound alike...there's something new that John adds that makes it different. I don't know. Well, anyway, I love that he uses his double bass to make it happen. It makes it sound extra jumpy. Not alot of rock drummers use both pedals to make a beat unless it's for some...balls-to-the-wall metal. John brought it out, though, and it sounds sweet. It really does make you anticipate the craziness to come. Also, I love how during when the bridge goes crazy, as soon as Fred tells Lethal to bring it on, John hits on his cymbals even harder to make the song get one notch more insane. Sometimes, a little improvisation goes a long way...

TAKE A LOOK AROUND
"I know why you wanna hate me..." Listen to John during that part. Dude, he organized an entire build-up by himself. He wrote a build-up on his own. Listen to it. It's not just a simple build-up. It's got PARTS. It sounds sweet.

BOILER
The chorus. I love the double kicks whenever the guitar/bass gets quiet briefly. That really sells the song. It's something fresh. Hell, I love John's entire performance on the song. I love that tom roll he does in the third verse to make the song all scary and shit, I love how he plays the beat on the verses because although it's slow, it sounds kind of hard to do. Maybe it's my untrained ears, but yeah. John brings it, but my favorite is the chorus beat.

FULL NELSON
To compliment Wes's slow build-up during "How pathetic are people", John does a soft snare build-up himself. It was appropriate, and it makes that part sound even more sinister. Another score for Johnny Ottomatic.