Reanimation

Ultimately, the set is a little schizo, but it channels enough rap-rock frisson to make it more than just a between-albums snack. [Sep 2002, p.128]

As on Hybrid Theory, there's a definite formula at work in all 19 songs, but it's flawless and effective.

Reanimation's cross-pollination of high-level lyricism, trunk-rattling beats, heavy-metal riffs, and hard-core vocals makes for a rousing listening experience. [Sep 2002, p.244]

On the one hand, the results are more varied than the monochromatic ''Hybrid Theory.'' On the other hand, the remixes at times obliterate one of the band's most distinctive characteristics -- the vocal interplay between singer Chester Bennington and MC Mike Shinoda, a blend that allows their pop tendencies to poke through from time to time.

The music isn't exactly groundbreaking, and none of the remixes improve on the Hybrid Theory originals, but the boyish energy of Reanimation has its own appeal, and it's not too far emotionally from the tried-so-hard spirit of "In the End."

The remixes are extremely liberal, cutting and pasting with little regard for the originals in question.

When it works, the results are astounding.

Linkin gain from their hip-hop daring, and the dance domos get to wedge a foot in the crossover door. [#9, p.151]

Why didn't they travel this far out of the box initially?

Some of this works quite well, some of it is kind of juvenile, much of it is only slightly recognizable from the original, it's too long and compared to contemporary arty rock, it really isn't that arty.

Almost every track here pales in comparison to the original version. [Sep 2002, p.109]

The dominant sound is of flickering sequencers and heavy-handed synth-pomp which showcases Linkin Park's keen interest in the work of Depeche Mode, but also often leaves them sounding about as cutting-edge and dangerous as Jesus Jones.