“Florida-bred metal-rappers Limp Bizkit sold a million-plus records of their debut largely on the strength of [‘Faith’], a George Michael cover song” (Turman). They “made their reputation through hard work, touring the hell out of their debut album Three Dollar Bill Y'All and thereby elevating themselves to the popularity status of their similarly rap-inflected, alt-metal mentors Korn” (Erlewine).
“The group's second outing proves that the Bizkit have the goods” (Turman). “They come close to reaching Korn’s artistic level; at the very least, it’s considerably more ambitious and multi-dimensional than Three Dollar Bill. Limp Bizkit, of course, hasn't abandoned their testosterone-overloaded signature sound, they’ve just built around it. There are flourishes of neo-psychedelia on pummeling metal numbers and there are swirls of strings, even crooning, at the most unexpected background. All of it simply enhances the force of their rap-metal attack, which can get a little tedious if it’s unadorned” (Erlewine).
One way they integrate some diversity is via “scads of guest vocalists, such as Stone Temple Pilots’ singer Scott Weiland, Method Man from Wu-Tang Clan, and Korn’s Jonathan Davis. (In fact, Korn gave Limp Bizkit a leg up in the industry)” (Turman).
“But the 16 diverse yet cohesive tracks on Significant Other don’t need any help” (Turman). It has “more emotional weight than Three Dollar Bill, along with more effective, adventurous music” (Erlewine). “Not as heavy as their mentors Korn – or as they are on their debut – Bizkit give Everlast a run for his money on the tuneful and appealing Rearranged. Just Like This is another winning hip-hop and rock entry, while the amusing and memorable Nookie (as in ‘I did it all for the nookie’) has self-deprecating lyrics not unlike the Offspring’s ‘Self-Esteem.’ Bizkit segues with ease from pleasing rock and hip-hop amalgam to spooky Tool territory on Don’t Go Off Wandering to moshable moments in the entreaty Show Me What You Got” (Turman).
“Not so coincidentally, the enlarged sonic palette also serves as emotional coloring for Fred Durst’s lyrics. He broke up with his longtime girlfriend – his Significant Other, if you will – during the writing of the album, and his anguish is apparent throughout the record, as almost every song is infused with the guilt, anger, and regret that was churned up in the wake of separation. That, however, gives the impression that this is an alt-metal Blood on the Tracks. It’s not” (Erlewine). “It balances these new concerns with trace elements of their juvenile humor along with the overpowering aggro rap-metal that is their stock in trade. Which makes it a rare artistic leap forward that will still please audiences that just want more of the same” (Erlewine). “Significant Other may be hard to categorize, but it’s easy to like” (Turman).