![]() ![]() On Chocolate Starfish, I think I played a PRS set to the bridge position, as well - it's something of a similar sound, the two guitars." "For the actual guitar, on that song I believe I used my signature model Yamaha set to the bridge position pickup. I've used that amp for a lot of clean sounds over the years. "A Maestro solid-state Echoplex and an Ibanez flanger pedal that has a setting called 'whacked.' I put that through a 1965 Zodiac Twin 30, which is a pretty bizarre old amp with push buttons for EQs. In fact, for the opening, I set up the exact same amp and effects chain that I used on My Way." It reminded me a lot of the song My Way from the Chocolate Starfish album. "With Loser, I was able to pile on a lot of elements and sounds, and I could take them away and put them back at will. When you start out with just music, you're always wondering what the chorus is, what the bridge is… This way, you've got the song, and you can build your guitar parts with a lot more intent. "It's always a pleasure when you can compose guitar parts from a strong vocal and not just put the melody on top of guitar riffs. ![]() I loved the song right off, particularly the vocal. It was pretty much just a synthesizer, a drum machine and his vocal, but it was really good. "For that song, Fred had made a demo at his house. How do you figure out everything you're doing on a song like that? Loser has so many different guitar textures - there's the echoey intro figures, crushing walls of My Bloody Valentine-like chords in the pre-chorus, zippy little lead lines throughout and a harmonized solo. Like I said, maybe I've evolved as a guitarist, I don't know." On the other records, there were sections that you might call 'melodic leads,' but on Gold Cobra, playing real solos felt very natural. There wasn't this big idea of 'change' per se, we just… Yeah, I felt like playing some solos. In the past, they didn't seem all that necessary or important, but this album felt different in that way. Solos seemed appropriate for those songs. Shotgun, Walking Away, Loser, Killer In You all feature lead breaks. You even seem to be soloing more than ever. ![]() We never talked about it as a band, 'Hey, let's make the guitar more dominant.' But if that's how it comes off, fantastico!" "I think it's just a result of my having worked with other people and getting better at my craft. Those records had something of a clean-cut guitar sound. I guess I tried to bring some of the creativity that was there on the first record… a lot of the noise and the sound generation that was somewhat impotent on the second and third records. Was that the plan going into the studio, or did the role of the guitar evolve and increase as you recorded? The guitar seems more dominant on Gold Cobra than on previous Limp Bizkit albums. While on tour in Brazil, Wes Borland sat down with MusicRadar to talk about Gold Cobra, his guitars and gear, and his renewed appreciation for Limp Bizkit. On a couple of cuts, Durst, famously branded by music critics as the poster boy for hooliganism of every stripe, displays an astonishing degree of introspection that shouldn't be confused with standard-issue navel-gazing. A robust affair, bursting with aggressive riffs, deep grooves and a surprising amount of guitar solos, it's both a return to form that doesn't feel like a nostalgia trip and a giant leap forward that doesn't come off as a forced attempt at maturity. It took me a while to come to grips with so many aspects of being in this band."Īnd so, the third time is apparently the charm for Borland and the Bizkit, who have just released the album Gold Cobra. "But if you're not loving what you do, and if everybody is throwing knives at you, it can get old very fast. "Selling records is fantastic," Borland says. ![]()
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5/16/2024 03:03:44 pm
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