Limp Bizkit reform with guitarist Wes Borland and announce Download festival appearance
Well, we presume Bizkit mastermind / cap toting rapper Fred Durst and Wes Borland Wes Borland are joking when they say:
“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.”
Quite, but perhaps the surprise here is that guitarist Borland is on board this gravy train. Well, why not you ask – some say his riffs are the best thing about the rap metal mob.
Well this is the guitarist who cited artistic integrity as one of the main reasons he originally left the band back in 2001, that and the fact he allegedly couldn’t stand working with Bizkit Durst - a man not known for subtlety.
Strange then that he rejoined the band in 2004 and the band released the generally lambasted The Unquestionable Truth (Part 1) album. The band didn’t tour, Wes fell out with Durst again and left.
He went on to front a very different band of his own – Black Light Burns. More Inch Inch Nails than NWA.
Their debut was impressive, and a completely clean slate for Borland who began winning round the critics of his previous outfit.
His latest move is one that will no doubt surprise his fans but they better get used to it because Limp Bizkit plan to record a new album – surely not The Unquestionable Truth Part 2?! – and tour this Summer. Including a stop at the Donington Download festival in June.
So why come back again Wes? Hmmm, we wonder. But moreover, does anyone want Bizkit back at all?
Borland will be playing Yamaha CV820WB signature model guitar on tour. More dates will be announced shortly.
Borland was intensely involved in every aspect of the design process of his dream signature model guitar from conception to completion. It boasts a distinctive design incorporating Yamaha’s unique Takumi-Kezuri construction in which the back, sides, and center block are all carved from one block of wood (alder, in this case). A two-piece carved maple top finishes the instrument, making it a true semi-hollowbody electric guitar.
Other notable design elements include YASH (Yamaha Artist Services Hollywood) designed Custom33 pickups and binding on the inlayed 12-degree angled headstock, F-holes, and beautifully contoured body.
And what did you want?
I wanted an instrument that incorporated my favorite features from every guitar I’ve ever had—all the things I always wished I could transplant from one guitar to all the others. I wanted a semi-hollowbody with f-holes that also incorporated features from my favorite solidbodies. I wanted it to look “old” in a classic way, but seamlessly incorporate a modern locking tremolo. Yamaha has just developed a new tremolo system that uses a lever to lock and unlock the strings, as opposed to wrenches. It’s smaller, sleeker-looking, and very cool. It also works perfectly with the headstock I designed. The guitar will come in two finishes: One is glossy black, and the other is dark wood-grain, the color of a violin.
What about the electronics?
I prefer not having a tone control, since I always keep mine set all the way to treble—there’s no reason for me to roll off highs. But I like having separate volume controls for each pickup, because I blend them sometimes.
You favor loud, heavily overdriven tones. Is feedback a problem with a hollowbody?
I’ve played hollowbodies for a long time in many different high-gain situations. The trick is to play the guitar as-is in the studio, but to stuff a few little pieces of foam into the guitar when you play live. It doesn’t change the guitar’s tone or weight, but it deadens it enough to prevent feedback. I also use noise gates to keep things quieter.
Why have you veered away from the seven-string guitars you used to use?
Actually, I played six-string all the way through the first Limp Bizkit record. But then we went on the road with Korn, who got us some seven-strings for free. But I never played with a low seventh string like they did—I had a doubled high E, which I used to create chorusing effects, or to grab dissonant notes right next to each other. But as time went by, I used the doubled string less, so it was easy to go back to six string.
|Yamaha’s Finger Clamp
Quick Change Tremolo System
|Yamaha’s Finger Clamp
Quick Change Tremolo System
You mean you played those low-tuned Limp Bizkit riffs with no low B string?
Right—though in Limp Bizkit I tuned the whole guitar a step-and-a-half lower than standard, C# to C#. I wound up using a lot of different low tunings on the Black Light Burns album, because I had to find the right key for my voice. Sometimes we went as low as B. And sometimes, like on the song “Lie,” we use the C# tuning, but with the low C# dropped down to B. It’s like a regular dropped-D tuning, transposed down.
So is the CV820WB everything you wanted?
Yes—it’s exactly what I wanted. Everything came together perfectly. I just can’t wait to get my hands on a few more of them!