Wes borland contacts: Black Contact Lenses — Sclera Contacts, Blackout, Gothic

Black Contact Lenses — Sclera Contacts, Blackout, Gothic

Allow your dark soul to project through your gaze with gothic, possessed, & demonic special effects contacts.  Presenting three unique style lenses that are sure to conform to a variety of styles, genres, costumes, & makeup effects.  From die-hard goth chicks -to- wicked vampires and demon possessed victims -to- creepy skull effects, now you can vibe like the characters & creatures from your favorite movies.

Black Demonic Sclera Contacts

From malicious demons -to- horrific devils and big-eyed aliens -to- blood-thirsty vampires, all-black sclera contacts lenses are sure to intensify the scare factor of your makeup and costume effects.

These all black lenses cover the majority of the sclera, giving your appearance an otherworldly, dramatic appeal.

These ‘supernatural’ style lenses vibe well with a variety of makeup effects; and have been featured in tons of famous horror & sci-fi productions.

Here are just a few of the characters & creatures featuring these same style contacts brought to life on the big screen & television shows : vampires, demons, werewolves, devils, aliens, skulls, killer clowns, and otherworldly creatures.

American rock musician and artist Wes Borland from the band Limp Bizkit made these same black style contacts his signature statement during his onstage guitar performances; often wearing them with wicked or demonic style black & white costumes or body paint.

Featuring a 22.0 sclera lens, these all-black contacts cover the majority of your eye, making them more suitable for: body paints, theatrical events, film production, or photo-shoots.  Do not wear for more than a few hours at a time without taking a break, as it’s important that you give your eyes time to breathe.

Available in non-corrective & corrective versions.  Also available in two different brands(Gothika & CustomSFX).  Click on image for more information.

Here are some cool scenes in the video below from the American horror television series Supernatural, featuring black demonic style contacts.

Possessed Blackout Contacts

Create that movie-quality possessed-eye effect we all love to experience from characters & creatures in horror & sci-fi.

Just a few of the famous horror movies you’ve seen these black style contacts in: 30 Days of Night, Thirteen Ghosts, & Ginger Snaps Back: The Beginning.

These possessed blackout contacts have also been featured in many sci-fi films consisting of aliens and otherworldly creatures.

These spell-binding, jet black eyes can really accentuate your makeup and costume effects, vibing well with all-things ungodly, unholy, haunted, creepy & cursed.  Making these a great effect for soul-stealing demons, blood-thirsty vampires, malevolent ghosts, possessed souls, and other supernatural creatures.

These haunting eyes will either have ‘mere-mortals’ falling under your hypnotizing stare -or- shivering in their boots.

So slip these in and allow the possession to take hold of your sorry soul; and get ready to deliver a cold, soulless gaze for Halloween, cosplay, photo-shoots, theater, film production, vamp/goth clubs or role-playing fun!

Featuring an 18.0 diameter lens, these movie-quality lenses cover the majority of the eye which includes all of the iris and a large portion of the sclera.  So do not wear these for more than a few hours at a time without taking a break, as your eyes need time to breathe.

Available in non-corrective & corrective versions.  Click on image for more information.

Watch 2 videos below to see how possessed blackout style contacts look with the Vampires from the film 30 days of night and The Angry Princess from the film Thirteen Ghosts

Black Goth/Metal Contacts

Rock out in true Goth-Metal fashion with Black Gothic Metal FX contacts. These beautiful, all-black lenses are fitting for ‘darker’, ‘mysterious souls’: goths, metal heads, vampires, or true rebels at heart.

Black goth metal contacts make for a beautiful, dark and mysterious effect when paired with naturally pale skin, or white makeup applications.

Marilyn Manson popularized this lens style by wearing one of these in his right eye, along with a white contact lens with black limbal ring in his left eye.  This served him well as a unique effect to represent the dichotomy of good and evil, and the existence of both, together, in every whole.

Black goth-metal contacts are sure to make you feel more dark —  from rocking on stage -to- banging your head in the crowd -or- ‘spicing up’ your goth appeal -to- accentuating your vampire makeup.

These also make for a great effect for: film production, body paints, cosplay, Halloween, haunts, theater, anime, parties, makeup stylists, stage performances, or role-playing fun!

Available in non-corrective & corrective versions.  Click on image to learn more.

Summary

NOTE: All text links outlined below are from 3rd party websites which will open up in a new tab. No affiliation to any of these sites. Just “added value” for more info.

These three black style lenses conform to many different genres, arts & lifestyles, such as: movie production, stage performers, theatrical arts, body painters, make-up artists, photo-shoots, cosplay/anime events. Rock musicians, Gothic freaks, haunt attractions, and Halloween.

The color black is the absence of light, thus representing the void, or utter darkness.  Some even view the dark nature of black the most suitable fit for many types of scary, evil, or monster creatures, such as Vampire, Demon, Werewolf, etc.

Whether you want to wear these with a costume or dark Goth outfits, they will be the perfect add-on to give you that movie star quality look & feel.

Limp Bizkit guitarist Wes Borland’s most outrageous stage costumes

Planet Radio

kerrang

entertainment

music

A look at the Limp Bizkit guitarist’s ever evolving outfits, makeup and body paint

Limp Bizkit guitarist Wes Borland

Author: Scott ColothanPublished 26th Aug 2021
Last updated 23rd Aug 2022

Truly one of the most eccentric and flamboyant characters in rock music, Limp Bizkit guitarist Wes Borland is renowned for his elaborate visual appearance at live concerts.

Alongside being a killer musician with a 40-million record selling rap-rock band, Wes Borland is also a trained tattoo artist and keen painter and these artistic influences bleed through into the various formidable on-stage personas he concocts.

Wearing trademark black contact lenses in his eyes, Wes Borland sports outlandish costumes and body paint at Limp Bizkit concerts to create fearsome – and sometimes hilarious – guises. Constantly evolving, Wes Borland rarely rocks the same look at consecutive live concerts too.

«I go onstage wearing almost nothing,” Borland noted about one look in 2002. “I have underwear and my boots on, and I paint my whole head black—from the neck up—and I have the black contacts. All you can see is these glowing teeth.”

Here at Kerrang! Radio we’ve rounded up some of Wes Borland’s most outrageous and memorable looks from over the past quarter-of-a-century, from simple beginnings, to Limp Bizkit’s global superstardom at Woodstock 99, to his modern-day LED masks. Check them out in all their glory below!

Wes Borland’s greatest on stage outfits:

Wes Borland’s greatest stage costumes

Wes Borland at Shoreline Amphitheater in Mountain View, California in June 1999 shortly after the release of Limp Bizkit’s second studio album ‘Significant Other’. With white face paint, eery shark-like black eyes and cobwebs on his neck, Wes Borland was starting to perfect his fearsome onstage persona.

Wes Borland’s greatest stage costumes

Wes Borland at the 30th anniversary Woodstock Festival in August 1999 with those same emotionless dead eyes and more flamboyant, almost tribal face paint. The look is a precursor to Wes Borland’s guise in Limp Bizkit’s ‘Break Stuff’ video in 2000.

Wes Borland’s greatest stage costumes

Wes Borland Pukkelpop Festival in Belgium in the summer of 2000 with that now trademark white face and black shark eye combo, but this time with blood smeared all over his chest. Lovely stuff.

Wes Borland’s greatest stage costumes

Rarely sporting the same make-up and body paint at consecutive shows, just a few days after Pukkelpop, Wes Borland took to the stage in Hamburg with this gloriously terrifying skeletal look.

Wes Borland’s greatest stage costumes

Wes Borland on stage with his comedy side project Big Dumb Face in 2001 wearing nothing but a pair of speedos and a mask. Strong look!

Wes Borland’s greatest stage costumes

Wes Borland unveiled this gloriously evil guise at on the Main Stage at Download Festival back in 2009. You certainly wouldn’t want to meet him down a dark alley.

Wes Borland’s greatest stage costumes

Much less scary than his Download Festival look, Wes Borland sported white body paint with rainbows daubed on his shoulders and a crude ribcage on his chest at Palasharp in Milan in June 2009. Setting the look off nicely is his rather fetching glitterball mask.

Wes Borland’s greatest stage costumes

Wes Borland at the much-missed Sonisphere in 2011 wearing a clown mask, blue contact lenses and resplendent white suit complete with pink rose on his lapel. Exquisite.

Wes Borland’s greatest stage costumes

Wes Borland stares out the cameraman at Gramercy Theatre in New York City in May 2010. Now devoid of a glitterball mask, Wes wears a resplendent mirror design on his shoulder instead.

Wes Borland’s greatest stage costumes

Wes Borland flaunting his feminine side at Leeds Festival in 2010 complete with black wig, crude lipstick and a faux-fur coat.

Wes Borland’s greatest stage costumes

Just one day later at Reading Festival 2010, Wes Borland morphed into this proper horrorshow witch-like look. Enough to give the fresh-faced youngsters in the front row nightmares.

Wes Borland’s greatest stage costumes

A stark black-and-white look Wes Borland unveiled in Madrid in September 2010.

Wes Borland’s greatest stage costumes

In Germany in June 2011, Wes Borland revealed a slight tweak to the deranged witch look from Reading Festival a year earlier by introducing LED eyes. Phenomenal.

Wes Borland’s greatest stage costumes

Wes Borland in his stark black-and-white guise at Sonisphere 2011.

Wes Borland’s greatest stage costumes

Almost camouflaging into the darkness except for those glowing LED eyes, Wes Borland looks truly formidable at Verizon Wireless Amphitheater in California in September 2011.

Wes Borland’s greatest stage costumes

Featuring sunglasses, a moustache and horrific comb over hairstyle, blood daubed on his pants and a sharp white jacket, Wes Borland unveiled this unique look in Sydney in 2012.

Wes Borland’s greatest stage costumes

Wes Borland sporting flowing blonde locks and a mask at Rock in Rio festival in May 2012.

Wes Borland’s greatest stage costumes

The inimitable Wes Borland at Download Festival 2013.

Wes Borland’s greatest stage costumes

Looking like he’d been attacked by the clothing isle at a charity shop, Wes Borland rocked this strong look at Brixton Academy in 2014.

Wes Borland’s greatest stage costumes

Another deranged look Wes Borland revealed at Sonisphere 2014. Behind him you can see Wes’ custom painted guitar cabs, which are as uniquely decorated by the Limp Bizkit axeman as any of his outifts.

Wes Borland’s greatest stage costumes

The return of Wes Borland charity shop chic look but this time with a stunning tiger-themed dressing gown.

Wes Borland’s greatest stage costumes

A skeletal looking Wes Borland at Manchester Arena in 2016.

Wes Borland’s greatest stage costumes

Wes Borland in his y-fronts and dressing gown at Domination Festival 2019 in Mexico City in 2019.

Wes Borland’s greatest stage costumes

Wes Borland on stage with Limp Bizkit at Doheny State Beach, California in June 2019. Yeehaw cowboy!

Read more:

Slipknot’s masks through the years

Download Festival headliners through the years

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Why Wes Borland is way more than just the face-painted…

Words:
Mike Rampton

Wes Borland is the best. He was the most interesting man in nu-metal, standing among a sea of giant khaki trousers dressed like a giant witch. While everyone around him dressed fairly uniformly, limiting any and all visual experimentation to occasionally deeply odd beards, he’d be off to the side with his ceramic rabbit, his eyeballs blacked out by oversized contact lenses, and body clad only in underpants and a gallon of paint.

Here, then, are 13 of the many things to love about the most enigmatic maverick in metal…

Perhaps it shouldn’t be surprising: he’s a sculptor, among other things, and it makes sense to expect a guitarist to be good with their hands, but he still doesn’t seem like the most obvious choice to front a DIY programme. Nobody’s ever said, “Nick Knowles is basically the British Wes Borland.” But Wes did host just such a show in 2016, as the DIY Channel’s Sight Unseen followed the renovation of his Detroit home, a house he and then-wife Carré Callaway of Queen Kwong bought without having seen it. It all went well enough that his solo album, Crystal Machete, was recorded in the house.

Not a lot of guitar players are influenced by the brass section, but Wes was inspired to do a move known as “dive bombing” by watching trombone players. It involves a locking tremolo system that leads him to describe his style as “snappy, complicated riffs that have a lot of dive bomb-type, whammy bar push-and-pull suction sound in them”.

Wes did the artwork for Limp Bizkit, Big Dumb Face and Black Light Burns albums, but also exhibits oil paintings. He describes himself as a visual artist who just happens to play guitar. In his official, self-penned bio sent out to galleries, he describes his output as thus: “Delving into realism and surrealism, his work sometimes relies on dog penises, nudity, guns, balls, racism, and Persian rugs in order to look like it’s trying to make a statement that holds some kind of weight or significance. ” His gallery site is currently down, but some of his work can be seen at Gallery Provocateur. Yep, that’s a painting of a naked lady alright!

Whether hanging lights around his naked, painted torso, sculpting his facial hair into the style of a 1930s strongman, squeezing an octopus into his mouth or making himself look like a burnt match, Wes sees all his elaborate costumes as extensions of his art. “When I was a kid, I saw a KISS TV special,” he says. “I thought they were superheroes that played guitar. I’m not a KISS fan but man, that had an effect on me. When I entered Limp Bizkit all of a sudden we had people helping us and I didn’t have to carry everything by myself all the time. I started thinking, ‘What else can I do with this? I’m a guitar player in a rock band that’s starting to find some success.’ And my brain just started going, ‘Well, you’re a visual artist. You know how to sculpt and you know to sew and you know how to paint. Use this.’ I needed to create something, so my body started becoming the medium in which I worked.

Excess is a big aspect of rock’n’roll. At one point, he and ex-wife had Carré Callaway had 11 cats. ELEVEN. That is so many goddamn cats. That’s, like, an amount of cats that even cat-themed rock star Peter Criss would think was excessive.

In 2017, Wes told the Talk Toomey podcast about an altercation with Staind’s Aaron Lewis that ended in a magnificently unambiguous slamming of his former labelmate. “That guy is such a dickhead,” he said. “So full of himself, such a dickhead, I wish nothing but the worst for him. Amen. Disgusting person. I don’t want be a shit-talker. But I have no problem talking shit about that guy. He’s terrible.” Aaron then responded by calling Wes “a bougie motherfucker.”

Wes spent the last week of his 30s onboard Shiprocked, a floating concert boat with various Limp Bizkit contemporaries. While the PR-friendly way for someone not looking forward to it would be to grit ones teeth and get on with it, Wes made his feelings very clear on Instagram, writing, “Can’t wait to see me some roided out tribal tattooed spray tanned Jell-O shot filled bohunks do their best drunk MMA impressions in the top deck mosh-pit. ” He claimed to be in the foetal position in his cabin, but gave shout-outs to “all the other over-the-hill late-’90s/early-2000s bands going on the cruise”. “Let’s give these people the raging alcohol-fuelled nostalgia fest they’re paying for, guys!” Wes wrote. “I know we can do it if we tune down low enough!”

Lead guitarists can be an egomaniacal bunch, but Wes has shunned the nine-minute-solo type indulgences that the position sometimes leads people into, telling Ultimate Guitar: “The things that were important to me as a guitar player and as an artist didn’t come from kind of the Eddie Van Halen and Yngwie Malmsteen school of guitar playing. I found riffs fascinating and melodies fascinating but always felt like guitar solos were maybe just kind of typical or egotistical. It just didn’t seem like the important part of the song and it didn’t seem necessary unless it was saying something.”

In 1998, Wes and his brother Scott (who provided keyboard parts on the first three Bizkit albums) formed a band called Big Dumb Face, a combination of Ween, Mr. Bungle, death metal, psychedelia and fantasy archetypes that nobody necessarily asked for, but totally ruled in a very specific way. Their debut album Duke Lion Fights The Terror!!, released on Fred Durst’s Geffen imprint, Flawless Records, sold about a dozen copies (Wes later described it as “a completely failed, self-indulgent project”) but all 12 of the people who bought it loved it. Here’s an excerpt from the lyrics to one track, Kali Is The Sweethog:

There’s something in the heart of Lord Kali /
Kali lights the children’s heads on fire
/ And causes disease to spread
/ But Kali is our friend
/ And Kali is the sweethog
.’

Beautiful, silly-assed nonsense that probably cost Geffen Records a million dollars.

Big Dumb Face isn’t the only project that Wes is self-deprecating about. “I had all these presumptions about what life after Limp Bizkit would be, and boy did I get my ass handed to me,” he has said. He even wrote a press release for his solo album beginning: «If I weren’t the guitar player for Limp Bizkit, this sheet of paper would have been in your wastepaper basket a long time ago. » When he returned to Bizkit, he said he had “got a little too big for his britches”.

A lot of assumptions one might make about Wes would be wrong. He has never played Dungeons & Dragons, trying once as a kid but struggling to get through the manual. He doesn’t smoke weed. He wasn’t bullied. He doesn’t worship Satan (but does find him funny, and see him as the element missing from a lot of metal). There are plenty of nerdy connections at play, though – his black contact lenses were made by the company that did props for Babylon 5.

Wes has always had a tumultuous relationship with his own band. It makes sense – he and Fred Durst seem like they come from totally different worlds. On one side there’s this aggressive, shit-talking provocateur, and on the other there’s a nerdy warlock. There’s been a constant conflict, with the guitarist leaving the band a few times. “I didn’t like the direction that we were going in, and had developed this huge ego, and communication between me and Fred completely shut down in like 2001,” Wes said in 2015. “So at 26, I went, ‘See ya later, I’m out. I’m gonna go do something that I think is cooler than this.’”

These days, Wes seems to be at peace with his day job. “I don’t hate being in Limp Bizkit,” he told Stereogum. “I’m very aware of my band. I totally get tons of people don’t like it and think it’s a joke. And then we have a really strong fanbase that are great. We’ve always had really fun live shows. I’ve always gotten to create stupid stage personas that make me laugh and hopefully could possibly rub off on someone in the crowd that isn’t used to seeing things like that that borderline on costuming and performance art. It’s like, I really like my band. Do I listen to that genre of music? No. But do I participate in my band and do I enjoy playing with those guys? Yeah. It feels like home.”

Read this next:

  • The 20 best Limp Bizkit songs
  • What it feels like to listen to Limp Bizkit for the first time
  • A deep dive into Limp Bizkit’s video for Nookie

Wes Borlandlimp bizkitLimp Bizkitbig dumb face

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Wes Borland Tells Us Whether He Really Hates Being In Limp Bizkit, And Why Fleet Foxes Are Bad For Music

Yesterday, I wrote a post about Limp Bizkit guitarist Wes Borland. Bizkit are about to headline the ShipRocked cruise, along with a whole mess of other nü-metal bands, and Borland seemed to be dreading the prospect. In an Instagram post, he said as much: “Whenever we aren’t on stage, I’ll be curled up fetal position in my cabin, palms up, while I desperately cling to the last week of my thirties as it slips through my hooked fingers.” After I wrote the post, Borland reached out to me on Twitter, and we talked on the phone this afternoon.

Within nü-metal and Limp Bizkit in particular, Borland always played an interesting role. In a frat-thug-dominated scene, he was the guy who wore all-black contact lenses and kabuki makeup. He talked about listening to Ween in interviews. He quit Limp Bizkit to form a band that sounded vaguely like Mr. Bungle before returning to the fold. In fact, Borland has quit and rejoined Limp Bizkit twice, and he’s often carried himself as someone who would rather not be in Limp Bizkit. But talking to him today, I found him to be warm and engaging and interesting, even if he’s perfectly comfortable being a guy in Limp Bizkit these days. Here’s our conversation.

STEREOGUM: So you’re not too terribly pissed about the post that I wrote?

WES BORLAND: Of course not. Why would I? I mean, what wasn’t true in the post that you wrote?

STEREOGUM: I mean, I don’t know.

BORLAND: Nah man. When [I thought about] the idea of a cruise with a bunch of bands from that time period, [I thought], “Oh, I’m turning 40, I’m gonna spend the last week of my 30s on a metal cruise with a bunch of, like, middle-aged wasted people.” And instead of despairing about it, I thought it would be funny to make fun of it.

STEREOGUM: Your Instagram post was really funny. I think everyone has situations where they’re not ready to go to work that day and face whatever it is they’re facing.

BORLAND: Yeah. This is kind of like the equivalent of that. But I don’t know anything about ShipRocked [except] that we’re playing on it, and what the idea of a music cruise sounds like to me. In no way am I like, “Fuck ShipRocked and our fans are idiots.” [I] was hoping that people would have more of a sense of humor about it.

STEREOGUM: Do you feel like they have?

BORLAND: I feel like some have, but I feel like a bunch of people haven’t at all, and that’s fine too. Whatever. Because it’s funny, but it’s true.

STEREOGUM: Do you hate being in Limp Bizkit?

BORLAND: Um, no I don’t hate being in Limp Bizkit. I’m very aware of my band. You know, I totally get tons of people don’t like it and think it’s a joke. And then we have a really strong fan base that are great. And it’s been something I’ve always been part of, on and off, but something that’s always been my band, and whether people think it’s dumb or not, or elements of it aren’t cool, whatever. We’ve always had really fun live shows. I’ve always gotten to create stupid stage personas that make me laugh and hopefully could possibly rub off on someone in the crowd that isn’t used to seeing things like that that borderline on costuming and performance art, or whatever you want to call it. No, it’s an interesting place to be, and I’ve always sort of thought of it as being a Democrat who’s voting in a red state, in a way.

It’s like, I really like my band. Do I listen to that genre of music? No. But do I participate in my band and do I enjoy playing with those guys? Yeah, it feels like home. I’ve known them for 20 years and developed as a player with John on drums and Sam on bass, and it’s part of my DNA, I guess. It feels good.

STEREOGUM: Did you picture yourself still doing this, say, 10 or 15 years ago?

BORLAND: Probably not because 10 years ago I think I was out. Yeah, I wasn’t in the band 10 years ago. I’d quit and had all these — I didn’t like the direction that we were going in and I had developed this huge ego and communication between me and Fred [Durst] had completely shut down in like 2001. And then we played the Big Day Out Festival and had a girl die during our set, which was devastating to me and I still haven’t really ever gotten over that, but I was like, “That’s enough. I’m done. I don’t like all the attention that we’re getting. I don’t like that we’re on TRL. This is not what I thought being in a rock band would be like.” So at 26, I went “See ya later, I’m out. I’m gonna go do something that I think is cooler than this.” I had all these presumptions about what life after Limp Bizkit would be, and boy did I get my ass handed to me, because if you are known for one thing and then depart and go do something else, it doesn’t always work out because you have a fan base that is not going to accept what you’re doing.

So I had a completely failed self-indulgent project that I developed for like two years after the first time I left Limp Bizkit, and I got to play guitar in Marilyn Manson for a little while. I was talking with Trent about a Nine Inch Nails position and had that for a little while, and was like, “OK, finally I’m moving into these other worlds of these people that I look up to as musicians.” [But] participating in these other bands wasn’t what I thought it was gonna be like and I didn’t enjoy it as much … and I started to kinda miss Bizkit. I was like, I really miss our live shows and improvisation. I started to miss playing somewhere with a group of guys that feels like home, and also kind of realized that I had gotten, at that point, kind of too big for my britches and had to be humbled a little and grow up a little bit. And I went back. I accepted it, the good with the bad.

STEREOGUM: You’ve been back a few years now. How does it feel at this point? Are you used to it again?

BORLAND: Yeah because now it’s like, it is what it is, I’m fine with it, I’m fine with the criticisms that come with it. I totally get it, and it also allows me to work in a band and tour, and I’m really lucky that I was in the last wave of bands to be able to have a large fan base and tour the world, and it allows me to do other stuff, too. So I have other projects that I’m working on outside of it. I get to play guitar in my girlfriend’s band [Queen Kwong], and that’s like the completely other end of the spectrum. I get to do a bunch of different kinds of music and be in Limp Bizkit and not have pressure like bands today who are struggling to rub two nickels together.

STEREOGUM: It’s true that there’s never probably going to be another rock band that’s as popular or sold as many records as you guys did in 1999 or whatever. It’s just not ever gonna happen.

BORLAND: Well I hope you’re wrong. I mean, I know it’s not, too. I’m an atheist but whenever someone goes, “Don’t worry, there’s a heaven,” I go, “You’re wrong, but I sure hope you’re right. I sure hope I’m wrong.” But I agree with you. It sucks watching my girl’s band Queen Kwong struggle, and her going, “What the fuck, this is crazy! I just got a check from Spotify for like 0.01 cents. Why do they even mail this to me? Fuck ‘em.” For as much as I read about it and as much as I’m informed of it, it’s a really frightening time. And there are arguments on both sides, but these Spotify people, this is not the way to go. Some genius needs to come up with a way, or a board of geniuses, needs to come up with a way to monetize music so that bands can quit their day jobs.

STEREOGUM: To a total outsider like me, somebody who wasn’t even frankly a fan of the band, the sort of internal dynamic of Limp Bizkit was the most interesting thing about it. You and Fred Durst seem to have very opposing personalities. I was in college when you guys were at your peak and every frat boy in the universe was all about you, and you’re this dude who’s wearing kabuki makeup up there. There’s an interesting tension there.

BORLAND: That’s absolutely accurate, yeah. What you think is what it was like, and I think that’s what made it interesting in a lot of ways and stand out in a lot of ways, but it’s also what made it volatile and made me go crazy. Growing up, I was going, “OK Fred” and he was like, “OK Wes.” But there’s a way we can coexist and keep doing this thing that has been so good to us, we can keep doing it and somehow I can figure out how to not step on your toes and you can figure out how to not step on my toes. And now we communicate and everything’s super easy.

STEREOGUM: Are you friends?

BORLAND: Um [slight pause], yeah, I would say we’re friends. The only reason I hesitate is once you get off the road with somebody in a band, you don’t really wanna see them for a while, but that’s true with any band. I think that’s a really common thing. You’re with someone every single day, and you wake up and they’re next to you across the hallway, and you’re having breakfast, lunch, and dinner and coffee with them, you need a break. So yes we’re absolutely friends. But when you’re off the road, I’m mostly just hanging out with my girlfriend and painting and stuff.

STEREOGUM: When you have a down moment on the road, what do you talk about?

BORLAND: Just normal stuff. Art. He listens to music you probably wouldn’t expect him to and is pretty good-natured about where he stands as a far as being a figure in society. He’s a self-aware guy and is an open guy as far as wanting to learn new things and learn about new bands. I’ve turned him onto a lot of stuff that’s really dug. For a while, all he was really doing was listening to Holograms and the Horrors and was really into that stuff.

STEREOGUM: So at Stereogum, there was a little internal debate about who should write the post yesterday. One of the guys who works at the site, Michael, is a big underground metal devotee, and so he was gonna write it originally, and his position was basically like, “Fuck this guy. He destroyed metal in the late ’90s — him and his band and all the other bands — and if he’s uncomfortable with it now, it’s his fault. It’s his fault that metal sucked for years and that it’s only now starting to recover.” What do you say when you’re confronted with a viewpoint like that?

BORLAND: I think metal is so fucking boring that I wanna stab my eyes out with screwdrivers. In the ’90s we tried to do something with metal, to take it into a new direction, based on combining metal bands with stuff that was on the heels of the grunge movement, like Helmet and Primus and even Pantera and the Melvins — taking those Helmet slaughterhouse riffs and combining it with like Carcass riffs and treating it more like a hip-hop Ministry song. That was the thought process at the time, and we didn’t know where it was gonna go. And luckily for him, metal’s right back to being the same as it was then. So obviously nothing was ruined because it was a time period of just experimenting and going in a certain direction and seeing what guitars did if you did this to them, and songs, and so on and so forth. And at no point were ever claiming to be, like, metal. That was put on us by having that as an influence, and I think that’s funny that he’s even getting that mad about it! [laughs]

STEREOGUM: He’s not even playing about it. That’s why I ended up taking the assignment instead of him.

BORLAND: But I also agree with him! Like, fuck me, who am I to complain about anything? I get to make a living off of music. I’m super lucky, and I get that too. So “fuck this guy.”

STEREOGUM: So here’s another question for you: Do you feel like Limp Bizkit as a whole was a positive or negative force for music in society in the late ’90s/early 2000s?

BORLAND: I think both. I think that Fleet Foxes is a negative influence on music, for Christ’s sake. It’s just how you look at it. People have been moshing and behaving badly at concerts, at heavy concerts, for years and years and years, and I think that Bizkit kind of took more aggressive heavy riffs along the lines of Suicidal Tendencies and Pantera and simplified them a little bit and added a little of bit of melody and ending up having something that got popular, you know? And people have been acting like assholes at shows for a long time. I don’t think a dude saying “fuck” a bunch of times is shocking.

STEREOGUM: I agree with that, but do you feel at all complicit in something like what Woodstock ’99 turned into?

BORLAND: I think that was a really bad idea, because Woodstock ’99 — I don’t feel responsible at all for that. I feel like the promoters of that festival were overcharging people for water, for instance, the cash machines were running out of money. The conditions were really poor, and I think that Woodstock ’99 should have not invited bands like us on it unless they expected — no one said, “Tone it down, this audience is not going to react in a positive way to your show. ” I mean, who knew that the festival was gonna turn into that, that atrocious riot that it did? But it’s never happened again, which I think is a good idea. I think that if they were to do it now and have the music that’s popular now — Foxygen and Mumford & Sons and a bunch of bands that are more tepid, or just a little more Coachella-friendly — I think it would probably work out great. There were a lot of really heavy bands on that festival.

STEREOGUM: Well tell me about Queen Kwong. I’ve listened to the four-song sampler on SoundCloud just before I called you. I really like it.

BORLAND: Carré [Callaway] and Joe Cardamone from the Icarus Line wrote everything, they improv-ed everything in the studio, and she kind of made of the lyrics as she went along for the new album, and then I mixed it here at my home studio. It’s interesting dealing with Joe because he viciously hates Limp Bizkit so much that it was an interesting interaction that was funny.

STEREOGUM: He’s not shy about bringing that up to you?

BORLAND: Oh no, he like openly can’t stand it. But that’s fine. I think he’s a talented guy and I don’t begrudge people for their opinions on art or music or whatever else.

11 Most Iconic Fashion Statements of Nu-Metal Stars

Nu-metal was more than just the music. The genre’s explosion during the mid-Nineties led to a drastic overhaul of the way metal music was visually presented, and its commercial domination through the early 2000s had an indelible influence on both mainstream and subcultural fashion trends — an impact that’s only become more defined over time, especially during this current era of Y2k nostalgia.

When we think of nu-metal, we don’t just think of the scene’s most lasting songs, we think of the outfits. The makeup. The hairstyles. The piercings. The big pants. The shit that gave parents nightmares and teenage renegades the inspiration to be aggressively themselves in a way that reflected the mounting anxieties of the time.

The influencers for the cultural movement that was nu-metal were the artists themselves, so we decided to commemorate the 11 most iconic looks sported by some of nu-metal’s biggest stars. From certifiably insane face-paint and painful looking facial piercings, to the genre’s premiere hats and outlandish outerwear.

Mudvayne circa ‘L.D. 50’

It’s hard to decipher the creative intentions behind Mudvayne’s L.D. 50-era getups, but making it impossible to look away was definitely one of them. Guitarist Greg Tribbett resembled Darth Maul getting electrocuted, Chad Gray’s silver-coated head and tattered overalls made him look like a hillbilly who huffed a whole cannister of paint, and the other two, frequently shirtless members — bassist Ryan Martinie and drummer Matthew McDonough — wore makeup that made them look like demonic aliens beamed in from Planet Brbr Deng. They stopped dressing that way once the getups drew too many comparisons to Slipknot’s outfits, but the way Mudvayne looked in the unforgettable «Dig» music video is the way many fans still visualize them.

photograph by Lester Cohen/WireImage

Shavo Odadjian’s braided beard

All of the System of a Down guys had unique styles in the early days of the band. They dabbled with makeup around the time of the «Sugar» music video, Serj Tankian sported a shiny rainbow jacket for a brief time in the late Nineties, and all of their photos emphasized their bulging eyes and zany facial expressions. As Tankian, Daron Malakian and John Dolmayan experimented with new hairdos and outfits throughout the 2000s, the one constant was bassist Shavo Odadjian’s long braided beard. Oh, the stories that Shavo’s braided beard could tell. He wasn’t the only guy in nu-metal with unique facial hair — and numerous other artists on this list also rocked the braid — but no one made it look as cool as Shavo did.

photograph by George De Sota/Redferns

Slipknot circa 1999

For as eye-catching as a lot of the outfits, hairstyles and body modifications of the nu-metal era were, most of those aesthetic choices were intended to play up the shocking and/or playful aspects of the genre with a campy wink. Slipknot, on the other hand, were trying to be fucking scary — and they were. The Iowa maniacs came onto the scene in 1999 clad in bright red prison jumpsuits and nightmare-inducing DIY masks, and the gang of nine carried themselves with a menacing, unpredictable energy that was genuinely intimidating compared to what their peers were doing. You could try and steal their look, but no one can truly replicate their singularly threatening aura from the late Nineties.

photograph by Mick Hutson/Redferns

David Draiman’s double labret piercing

Disturbed frontman David Draiman is a man of many looks. Throughout his 20-plus-year career, the «Down With the Sickness» singer has rocked various trench coats, robes, vests, mesh shirts and more. However, his most distinguishing feature has been his double labret piercing — the pair of giant spiked crescents that, up until he removed them a few years ago, protruded out of his lower lip and wrapped all the way down to the base of his chin. They looked kind of like a shiny metallic goatee and are as emblematic of early 2000s nu-metal as his infamous «oo-ah-ah-ah-ah» monkey noise.

photograph by Joey Foley / Getty Images

Wes Borland’s progressively elaborate costumes

For most bands, if anyone in the lineup is going to be flaunting a jaw-dropping ensemble then it’s the frontperson. Not so, Limp Bizkit. Fred Durst certainly had his hallmark garb (read on), but guitarist Wes Borland has always been the band’s — and quite possibly the genre’s — most eccentrically dressed performer. Although he started out with just black eye contacts, his outfits have gotten progressively more elaborate over the years — full-face makeup and a chest full of alien goop in the late Nineties; full-body paint with disco ball materials on his eyes during the 2000s; and varying costumes that would take full paragraphs to describe throughout the last decade. We like this one from 2010 where he’s wearing … who the fuck even knows.

photograph by KMazur/WireImage

Jonathan Davis’ kilt

Jonathan Davis is the Gianni Versace of nu-metal. The Korn frontman should be widely credited for spearheading many of the genre’s most quintessential fashion choices, like adidas track suits, dreadlocks, ostentatious pimp jackets and much more. The «Freak on a Leash» scatter has never been afraid to wear something loud and quirky, and perhaps his most infamous clothing choice of them all are the Irish kilts that he’s been donning onstage for decades. The skirts are a nice complement to the bagpipes he brings out for songs like «Shoots and Ladders» and «Dead,» but they’re also representative of how nu-metal subverted the broader genre’s macho norms for male gender presentation.

Kid Rock at the 1999 MTV Music Video Awards

photograph by Frank Micelotta/Getty Images

Kid Rock’s fur coat

Korn’s Joanthan Davis certainly dabbled in the pompous luxury of Seventies hustler attire, but Kid Rock made it a lifestyle. The controversial nu-metal «bullgod» is arguably better remembered for his absurd outfits than any of his actual songs, and the fur coats he wore at nearly every red carpet event he attended became his trademark. He’d frequently pair them with a range of cartoonish headwear — fedoras, bowler caps, cowboy hats — and douchey sunglasses that added a Bud Light-swiggin’ flair to his smirking appropriation of hip-hop style. You may not like the way he looked, but you definitely remember it.

Coal Chamber circa «Loco»

Given that nu-metal is, both musically and aesthetically, a convergence of metal and hip-hop that was largely reacting to the heavy-music tropes of the Seventies, Eighties and early Nineties, there weren’t a whole lot of goths in the scene. Bands like Kittie and Dope were borrowing from all-black industrial-club fashion, but it was «spookycore» purveyers Coal Chamber who first brought Halloween-time getups into nu-metal’s collective wardrobe. Smeared eye shadow, red hair dye, chain piercings, leather wrist bands, multiple rings on one hand — and all presented with mawkish facial expressions and coy poses rather than brutish, schoolyard bully stances. The music video for their 1997 single «Loco» tells all.

Linkin Park’s Chester Bennington, 2005

photograph by VCG/VCG via Getty Images

Chester Bennington’s blue flame tattoos

For all of the wacky body modifications, hairstyles and clothing items that defined the style of the nu-metal era, there surprisingly weren’t that many artists who were instantly recognizable by their tattoos. The tattoo industry exploded at the tail of the Nineties and most of today’s biggest musical renegades — whether in rock, rap or pop — have notable ink, but of all the major stars of the nu-metal movement, Linkin Park’s Chester Bennington stood out with his blue flame tattoos that blazed from his wrists up through his forearms. Compared to many of the other artists on this list, the late Bennington was mild-mannered and not begging to draw attention to himself, but the ink that showed every time he did his notorious double-handed mic clasp was a signature look.

Fred Durst in 1999

photograph by Patrick Ford / Redferns

Fred Durst’s red hat

Fred Durst practically broke the internet earlier this summer when he waltzed onstage at Lollapalooza with mutton chops, a full head of wavy gray hair and sweet-and-sour-colored aviators. The Limp Bizkit frontman looked completely unrecognizable in his new getup, particularly because most people identify him by his backwards red Yankees cap. The fitted baseball hat was glued to his head during the «Break Stuff» era of the band, and even though he actually wore a black version of the hat during his band’s infamous Woodstock ’99 set, the red iteration is as synonymous to nu-metal as flannels are to grunge.

Wes Borland — the greatest guitarist of all time: the achievements of the band member «Limp Bizkit» —

For more than 25 years, Wes Borland has continued his creative career and has managed to gain worldwide fame during this time. The artist managed to work in many groups and even create his own team. The most fruitful is still his activity as part of the American group «Limp Bizkit» , where Borland is the brightest and most memorable member, according to Joinfo.com. Let’s look at the turning points in Wes’s life.

Schoolboy Wesley Borland’s musical «illness»

The musician’s full name is Wesley Lowden Borland. He began his life journey on February 7, 1975 in Richmond, which is located in the US state of Virginia. The father of the future artist was a pastor, so the boy often attended the Presbyterian church and was brought up in strictness.

Photo: Instagram @limpbizkit4life

Wes was an introverted child and had no friends at all. The only thing that attracted him was music. At first, the student dreamed of mastering the drum kit, and after his parents gave him a guitar, he literally fell ill with this musical instrument.

Thus, at the age of twelve, Borland began taking guitar lessons, and then became a student at the School of Musical Arts.

Wes Borland — a brilliant guitarist and costume designer

Wes began his musical career in a band called «Krank», which he organized on his own.

Photo: Instagram @garethbullphoto

In 1995, the barely formed band «Limp Bizkit» began looking for a guitarist. Borland met with the band’s leader and was accepted into Limp Bizkit. He became the most striking and recognizable musician of the band, because Wes also shows his originality with the help of an external image. The guitarist always carefully thinks over the make-up and stage outfits that he creates on his own.

Photo: Instagram @thewesborland

Successful activities of Wes Borland as part of Limp Bizkit continued until 2001. During this time, the group managed to present 3 studio collections and 1 remix album. By the beginning of the new millennium, the team was already known to the whole world and successfully toured various countries.

Departure from Limp Bizkit and the musician’s creative wanderings

In 2001, the musician officially announced that he was leaving Limp Bizkit, because he could not fully realize his creative abilities in this group.

Wes started working on his own project called Black Light Burns. In addition, Borland temporarily joined the American rock band Marilyn Manson, and also took part in the work of the Japanese heavy metal band X-Japan.

Wes Borland’s return to the big stage

That’s how imperceptibly, in one breath the performance of Limp Bizkit passed. Borland’s riffs died down, Durst’s last «Thank you, Kazan» came, who promised to come again with a new album. What will it be like and whether this time the group will gather a full house, we, given the love of the vocalist for Russia and his desire after Gerard Depardieu and Roy Jones get Russian citizenship, we will find out very soon. ..

Good sound, cool show, lots of swearing and no organization. Limp Bizkit performed in Almaty

They say that Limp Bizkit always put on some special show at their concerts. For example, while performing in Cambodia, the musicians built their performance on the plot of the film «Apocalypse Now», and they once went out to their fans in Los Angeles from the «alien ship ladder». For Almaty, Limp Bizkit, without knowing it, prepared a show in the style of a zombie movie with Brad Pitt «World War Z». And this show began two hours before the main events. In any case, the atmosphere around was very reminiscent of this: the Duman-2 microdistrict that was empty by the evening, spontaneous parking around, crowds of fans and a huge queue to the building surrounded by a high fence (a concert was supposed to take place there). Everyone was eager to get inside so zealously, as if a life-saving vaccine was waiting for them there.


Photo of Nikita Spivak

At a Limp Bizkit concert in Almaty


This concert by Limp Bizkit has been announced since February of this year, and fans have been waiting for it with great anticipation — some even came from other cities in Kazakhstan. It was possible not to focus on the organization of the event if it was a school disco, and not a concert of world stars. Of course, this evening the organizers were very lucky that the audience gathered surprisingly adequate and, despite the fact that the elementary rules for organizing large-scale concerts were not followed, no incidents happened. But a stampede or a fire could easily happen — there was a lot of smoking in the room, only one entrance was open, and people were allowed into the huge hangar only through it, because of which some stood on the street for two hours. Fortunately, the weather was not warm in November, otherwise a half-naked fan of Limp Bizkit, who for the sake of the concert was smeared with black paint to the waist and covered himself only with a “cloak” from a garbage bag of the same color, would not have been saved from bilateral pneumonia.


Photos of Nikita Spivak

Limp Bizkit fans


There were few security officers inside, for some reason they carried chairs from corner to corner. Interesting, but the cloakroom worked with polite staff. The fan zones were not clearly separated, so we did not particularly notice the difference between those who paid 50 and 12 thousand tenge for a ticket. As for amenities, the common one for all toilet with several working booths was so smoky that it was difficult to distinguish the faces standing there in line.


Photo by Nikita Spivak

Limp Bizkit soloist


But all dissatisfaction disappeared when Fred Durst and his team appeared on stage around 9 pm. All the musicians, as we have already mentioned, looked decent and quite conservative – even the outrageous Wes Borland, who usually goes out to the audience in a frightening make-up, this time looked like a rather harmless «skeleton» gathered on Halloween with friends.


Photo by Nikita Spivak

Limp Bizkit member Wes Borland


When the musicians began to play, it became clear that the concert had one fat plus — a good sound — it was not in vain that they brought a plane with equipment. Seeing the musicians in person and hearing the voice of the idol of their youth, the fans roared. But Fred didn’t think it was enough: «No, no… Who’s meeting like that? Are you ready to meet Limp Bizkit, damn it, or not?!» he shouted, and the audience cheered loudly. It should be noted that this evening the number of obscenities from the stage went off scale, the favorite four-letter word of the Americans, which does not need translation, sounded more often than others. Moreover, Fred periodically showed his middle finger, and the fans answered him the same. «Are you sending me? Well, okay,» he said.

No one in the world knows how to turn on the audience and how they work on stage. They know a lot about the show. And although nothing supernatural was in store for the Almaty residents — the musicians worked only with light from additional funds, we were amazed at how beautifully it was done. For example, in front of Wes Borland, there was an unusual volumetric microphone stand, sometimes the spotlights of the beams converged on it and everything looked fantastic — seemingly simple, but impressive.


Photo by Nikita Spivak

Limp Bizkit soloist Fred Durst


The audience was crazy about Durst, and he was crazy about everything that was happening. «It’s incredible, am I performing in Kazakhstan? I can’t believe it!» he said. He confessed his love for our country and local fans a couple of times. Fred pleased not only with the best hits of Limp Bizkit, as well as Nirvana covers, but also warmed up with the usual tricks — splashing water from the stage, as well as unpretentious communication with fans. «Are there among you who drank vodka today?.. What about beer? But just water?» The latter — those who did not drink — were many. What can not be said — the people came off with all their hearts: they danced the way they did not do it in the ninth grade.


Photo by Nikita Spivak

One of the members of the Limp Bizkit group


Interestingly, the musicians worked on the stage under a countdown timer — having started their performance at about nine in the evening, an hour later they had already played the planned program. But the audience asked for more. Then Wes said that at 22.30 they had to leave the stage, because it is to play non-stop at such a pace «damn it’s not easy.» However, after finishing with their most popular song, Behind Blue Eyes, they performed on stage for more than half an hour. Wes was so upset that he tore off almost all of his clothes and threw them into the hall.


Photo of Nikita Spivak

Wes Borland undressed for Almaty fans


Fred also lost his jacket. He promised that the band would come back to our city with a new album. We hope this will happen and the organization will be worthy.

Limp Bizkit (Limp Bizkit): Biography of the group

Limp Bizkit is a musical group that was created in 1994. As is often the case, the musicians were not permanently on stage. They took a break between 2006-2009gg.

Limp Bizkit played nu metal/rap metal music. Today, the band cannot be imagined without Fred Durst (vocalist), Wes Borland (guitarist), Sam Rivers (bass player) and John Otto (drums). An important member of the group was DJ Lethal — a beatmaker, producer and DJ.

Limp Bizkit (Limp Bizkit): Biography of the group

The team gained recognition and popularity thanks to the hard themes of the tracks, the aggressive manner of presenting songs by Fred Durst, as well as sound experiments and the intimidating stage image of Wes Borland.

Vibrant performances of musicians deserve considerable attention. The team was nominated three times for the prestigious Grammy Award. Over the years of creative activity, the musicians have sold 40 million copies of records worldwide.

The history of the creation of the group Limp Bizkit

Fred Durst became the ideological inspirer and creator of the band. Music haunted Fred throughout his childhood and youth. The young man equally often listened to hip-hop, rock, rap, beatbox, even was interested in DJing.

In his youth, Durst did not find his recognition. At first, the young man earned his living by mowing the lawns of rich people. Then he realized himself as a tattoo artist. In addition, he was a member of several musical groups.

Actually, then the musician really wanted to create his own project. Durst wanted his band to play diverse music, and he didn’t limit himself to just one genre. In 1993, he decided on a musical experiment and invited bassist Sam Rivers to his team. Later, John Otto (jazz drummer) joined the guys.

Line-up Limp Bizkit

Rob Waters joined the new band, who only stayed with the band for a few months. Soon Rob’s place was taken by Terry Balsamo, and then by guitarist Wes Borland. It was with this composition that the musicians decided to storm the musical Olympus.

When it came time to choose a creative pseudonym, all the musicians unanimously named their offspring as the group Limp Bizkit, which means «soft biscuit» in English.

To make a name for themselves, the musicians began performing in punk rock clubs in Florida. The band’s first performances were successful. Musicians began to take an interest. Soon they were «heating» for the group Sugar Ray.

At first, the musicians toured, which allowed them to form an audience of fans around them. The only thing that “slowed down” the new team was the almost complete absence of songs of their own composition. Then they supplemented their performances with cover versions of songs by George Michael and Paula Abdul.

Limp Bizkit shocked. She performed popular compositions in an aggressive and tough manner. The bright personality of Wes Borland soon became the very highlight that distinguished the group from the rest.

It took the guys some time to get the recording studios interested in their performances. Few people wanted to take under the wing of a young team. But here the acquaintance with the musicians of the Korn group came in handy.

The rockers handed over the Limp Bizkit demo to their producer Ross Robinson, who, surprisingly, was pleased with the work of the newcomers. So Durst got a good opportunity to record a debut album.

In 1996 one more member DJ Lethal joined the group, who successfully «diluted» the sound of his favorite tracks. The team formed an individual style of performing songs.

It is interesting that during the creative biography the composition of the group practically did not change. Only Borland and DJ Lethal left the team in 2001 and 2012. respectively, but they soon returned.

Limp Bizkit (Limp Bizkit): Biography of the group

Music of the band Limp Bizkit

«Easy rise» musicians should thank the team Korn. One day, Limp Bizkit performed at the legendary band’s «heating», and then the newcomers signed a lucrative contract with the Mojo label.

Upon arrival in California, the team changed their minds and agreed to work with Flip. Already in 1997, the group’s discography was replenished with the debut album Three Dollar Bill, Yall$.

To consolidate their popularity and «promote» their importance, the team (Korn and Helmet) went on a big tour. Despite the bright performances, music critics were unhappy with the union of Limp Bizkit with Korn and Helmet.

Soon the team received an offer from Interscope Records. After a little thought about the conditions, Durst agreed to an unusual experiment. The team paid for the release of the Counterfeit track into the rotation of radio stations, which the journalists perceived as bribery.

The debut album of Limp Bizkit

The first album cannot be called successful. The team toured a lot, then performed at the Warped Tour festival, and also visited Cambodia with concerts. Another interesting point — the first performances of the team were free for the fairer sex. Thus, Durst wanted to attract the attention of girls as well, since up to this point, men were mostly interested in the band’s tracks.

A year after the release of their debut album, the musicians presented a song that eventually became a real hit. We are talking about the track Fait. A music video was later filmed for the song. At 19In 1998, the musicians, along with Korn and Rammstein, performed at the popular music festival Family Values ​​Tour.

Together with rapper Eminem, Durst recorded the song Turn Me Loose. In 1999, the group’s discography was replenished with the second studio album, which was called Significant Other. The release was extremely successful. In the first week of sales, more than 500 thousand copies of this record were sold.

In support of the second studio album, the guys went on tour. Then they appeared at the Woodstock festival. The appearance of the team on stage was accompanied by chaos. During the performance of the songs, the fans had no control over their actions.

In the 2000s, the musicians presented the album Chocolate Starfish and the Hot Dog Flavored Water. Also in 2000, the band organized a tour funded by the Napster resource.

During the first week of release, the collection sold 1 million copies. It was a real breakthrough. The collection went gold and was certified 6 times platinum in Canada and the United States of America.

Changes again

After the musicians played concerts, Wes Borland upset his fans by announcing his departure. Wes was replaced by Mike Smith, who did not stay long in the group.

Limp Bizkit (Limp Bizkit): Biography of the group

In 2003, the band’s discography was replenished with another album, Results May Vary. It contained a cover version of the immortal hit of the band Behind Blue Eyes. The collection was very coolly received by music critics.

The reason for the cool meeting of the collection was the biased attitude of the media towards the members of the team. Often the performances were accompanied by violent acts among the audience, the musicians indulged in immoral behavior on stage, and Durst often spoke aggressively about various situations and personalities. Despite all the nuances, the disc found commercial success.

Then Wes Borland returned to the band. In 2005 Limp Bizkit released The Unquestionable Truth EP. The topics that the musicians touched on turned out to be very provocative. A year later, unexpectedly for fans, the musicians announced that they were taking a creative break.

In 2009, journalists began to talk about the fact that the musicians were preparing a new album. And it wasn’t just rumors. In 2009, the musicians returned to the stage and confirmed that they are actively preparing a new collection. The design of the record and the recording of the tracks took almost two years. The presentation took place in 2011. The record was led by the track Shotgun.

In 2011 the band visited the Soundwave music festival in Australia. In addition, this year the group signed a contract with Cash Money Records. Then it became known about the release of a new album. In 2012, a conflict arose between the soloist and DJ Lethal. This led to him leaving the band and then rejoining Limp Bizkit. But still, over time, DJ Lethal left the group forever.

At the same time, the musicians announced a big tour. In addition, the guys managed to perform at several music festivals at once. In 2013, Durst and his friends visited the Russian Federation, visiting several cities of the country at once.

Limp Bizkit today

In 2018, DJ Lethal returned to the band. Thus, since 2018, the musicians have been performing with the old line-up. A year later, the band performed at the annual KROQ Weenie Roas festival in California.

In the same year, Limp Bizkit also visited Electric Castle 2019, where they appeared on the same site with the popular band Thirty Seconds to Mars.

In February 2020, the musicians gave a number of concerts in Russia.