At 2:17 the song calms down into a bridge with Fred muttering “I see a priest molesting children, I see terrorists blowing up buildings, I see someone in rage killing Dimebag on stage, what the *** is this?” After over a minute of talk like these the song explodes back into the chorus and then finishes with the sound of marching boots. It’s just the Chorus and Pre-chorus being repeated over and over again. Although it does have some nice heavy guitar riffs and some catchy lyrics it doesn’t really have any set-up. The next song The Priest is where the album starts going slightly downhill. Overall this is an amazing Limp Bizkit song and a great example of how enjoyable nu-metal can be when executed correctly. Fred’s rapping in this track sounds quite like that of Zack de la Rocha of Rage Against The Machine which is a step in the right direction even though it isn’t that original. At 1:10 the song gets even heavier with typical down tuned power chords making a sound perfect for bobbing your head to. As the bass line progresses the drums and guitar build in intensity around it until the 0:50 mark where the guitar joins in playing the same melody as the bass except a couple of octaves higher. After twenty seconds of peculiar sounds and white noise the bass comes in with a very fast paced and impressive bass line (which stands out in a genre that is usually filled with inaudible bassists). The next track, The Truth, is easily the strongest song here (and notably more impressive than most songs released during the nu-metal era). The only major flaw is the end which is fairly repetitive with the phrase “Who is phoney, it faded slowly, you don’t know me but I made you” but apart from that, this is a strong track and a definite Bizkit highlight. This track unquestionably sets the tone of the album with its raw guitar riffs, pounding drums, catchy bass lines and angst filled, cliché hating rap. Soon after Durst starts rapping, even though he isn’t an amazing rapper or lyricist, it fits the song well and adds a much rawer feel to that of previous releases. After about fifteen seconds of feedback the instruments kick in with a moderately fast beat mainly driven by a simple yet catchy guitar riff. The album kicks off with one of the stronger tracks, The Propaganda. All of the songs are centered round the importance of truth with issues such as corruption in church and religion (as in The Priest), propaganda and information being held back from the public by the government (as in The Truth and The Propaganda) and the evils of media, particularly E! Entertainment (as in The Story). The lyrical meanings on The Unquestionable Truth mainly cover one aspect of life. This is mainly due to the fact that Fred Durst has now actually grown up! He’s now in his mid-thirties and has a child so obviously his lyrics have matured and now have more prominent meanings behind the raw angst and ‘fame is a bitch’ emotion. However on this album his ego isn’t as prominent and the typical generic ‘I own this world’ rap lyrics are kept to a minimum. On the previous Limp Bizkit albums, the main incentive that urged listeners to just switch it off was vocalist/attention whore Fred Durst. Basically what you’re left with is some decent nu-metal musicianship perfect for bobbing your head to. The sampling has also seemed to decrease drastically compared to previous releases, which is a good thing since Limp Bizkit do work effectively with the raw energy created between just the basic guitars, bass and drums. The drums are just as they always have been, simple, with few fills but still adding to the songs.
Along with the more intricate guitar riffs, Sam Rivers also shows off his bass skills more than he has done on most previous albums with some really impressive bass lines (with the intro to The Truth as a perfect example of this). The main reason that The Unquestionable Truth is so much better than that steaming pile released in 2003 is that Wes Borland has returned and the songs actually include proper guitar riffs, which was something the previous album was rather devoid of.
Sure, there’s no shredding guitar solos, no epic lyrics, no sound clips of an orgasm in the making but The Unquestionable Truth still manages to sound original and decent in it’s own right (even though it does fall quite short of most other mind ***s). However aside from that, this is actually a good album, not anything classic but still a worthwhile listen. If not they are often asked if they have been sniffing anything recently, probably due to the fact that everything Limp Bizkit have released after Significant Other has been down right piss poor. The first phrase exclaimed by a musically intelligent individual when Limp Bizkit is mentioned is usually “They suck”.