Disturbed has now been around long enough to accumulate 16 B-sides. These songs have been gathered together on The Lost Children, which is kind of cool title as these songs weren’t discarded because they lacked quality; they just went their own way and have finally been collected together again by the band.
This 60-minute tour through the history of Disturbed’s brand of metal begins with “Hell,” which portends a descent into the bowels of the band, but the song feels like a slow burn, if you will. It never really takes off, and that’s a little disheartening. But things pick up from there. “Monster” is a delight, especially when the drums and guitar get into a beautiful rhythm towards the end of the song. Such moments, illustrated in the precision in their defiance, is why Disturbed is such a good metal band. “Run” has a little more verve to it, along with some good guitar work by Dan Donegan. “Two Worlds” is a little slow in contrast, but around the two-and-a-half-minute mark Mike Wengren has the spotlight as he puts his drum kit through some paces. He’s got a heavy, tribal sound.
“God of the Mind” sounds like it belongs very early in the Disturbed canon, and is easily my favorite track here. It’s tight from the intro, has a Draiman growl/speech thingy going on and then continues with syncopated chanting vocals that have perfect cadence with the guitar. “Mine” starts with some eerie electronics then throws in some bass and drum action. “Dehumanized” has another killer guitar riff; it’s not overpowering, just a heavy, heavy groove. Add Draiman’s meditative vocals and this is a powerful song. “Midlife Crisis” has a very different vocal sound and an acerbic message for any going through the titular situation.
Disturbed does a great job on covers. Asylum featured a good version of “I Still Haven’t Found What I’m Looking For” from U2. Ten Thousand Fists featured “Land of Confusion” which was a brilliant, updated interpretation of the Genesis classic. The Disturbed take on Judas Priest’s “Living After Midnight” is collected with the other lost children on this CD. It’s not quite as fabulous as the other two covers, but it’s better than the original. It’s cool to hear real metal guitar applied to this early ’80s classic.
These songs uphold the standard of Disturbed’s music. They are consistent, well written, well recorded. They may have been slow spots on any earlier releases, I think, but they’re fun here as one-off songs. This could be great filler material between Asylum and whatever their next new album will be; or it could be a satisfying wrap-up to a solid and renowned career, depending on how their alleged hiatus turns out.