The American Nu metal band ‘Disturbed’ has released their new b – side album ‘TheLost Children’. The album is not so heavy but still it has enough to satisfy the expectations of the diehard Nu metal. fans. Here’s the review of this new album.
Disturbed’s latest studio release to hit a shelf near you is a compilation packed with the b-side delicacies the band has delivered throughout its popular career. Welcome to the Hubba Bubba side of Heavy! Metal!, bitches.
Lost Children has scary children on the cover, and the Disturbed dude, who is the Creator of these dire abominations, and the image is doing a decent job at serving out your affection for all things badass and scary. One thing this time travel medley is superbly efficient at, is to familiarize the virgin ear with the primer characterology of the music Disturbed is fond to put out. We are talking about a smile-worthily accessible kind of metal that attempts to establish a well researched – and also very self-repetitious – balance between grooves relying on syncopated chug-fixation and relatively cheese-free power metal, while the aspiration to invite the monumental hook-chorus – sometimes with great-, sometimes with mild success – also could regard itself as a constant ritual that is about to be resonated per song for sure. If you were curious about what the deal is regarding Disturbed’s character and related popularity, then this compilation album might be your best bet to find that out. Read on to – sorry about that – read more about this Hubba Bubba bubblegum metal compilation.
The Lost Children is an informative selection with a healthy, dynamic character and tempo to it, and, fortunately enough, it also is efficient at strolling along the different modal registers the band is fond submitting to. Disturbed sounds to have three primal behaviors, and, as hinted, the album is quick to reach the point of virtual self-repetition. Worry not : the bubblegum still remains enjoyable, and here is why : the taste is long gone, but you can still chew. During the verses, the vocals tend to have a tribal rhythmization, giving you the “neanderthal within” vibe, then you have a pre-, and/or a breakdown, and THEN the chorus with the clean singing.
Though the band’s technique to trade microwave groove-intensity to accessible quasi-power metal lira and vice versa is absolutely undeniable, the tracks remain super-prone to exhibit the same compositional methods being utilized in their respective fabrics. The singer dude sounds to have 2-3 – and not more – favorite ways to deliver a melody on top of a chug, then, he descends from top to the bottom while touching every note two times during the pre, and finally you have the chorus with the Phil Collins on steroid-like clean singing, which sounds pretty cool to be honest. I think the chorus of opening track “Hell” is superb, and also think that the album draws somewhat of a downward spiral during its spin. The Faith No More and Judas Priest covers at the end of the album stand out like twin peaks of Mountains of Madness in the bubblegum-mudpile the album finally collapses to without them. This is accessible metal with SHORT glances of brilliant songwriting, but its most dominant character sounds to come through as its own dormant-, nevertheless rampant agenda to entertain you solely with the variation of the one single trick it is primarily centered around. The same structure is served over and over and over again, but that exactly what chewing is about. Once again : there are moments I love on this record, and so much more I can’t tell you anything about, because they put me to hypersleep.