{$Coheed & Cambria} continue to combine {\metal}, {\pop}, and sometimes {\punk} influences on {^In Keeping Secrets of Silent Earth: 3}. The high-register vocals of {$Claudio Sanchez} are reminiscent of {$Shudder to Think}'s {$Nathan Larson}. The vocals combined with the {\glam} {\metal}-{\pop} music of such tracks as {&"The Velourium Camper I: Faint of Hearts"} and {&"Blood Red Summer"} can at times bring out the influences of {$Queen}, {$T. Rex}, or {$the Cars}, and the recent influences of {$Cap'n Jazz} or {$Jets to Brazil}. {$Coheed & Cambria} could look a bit more to these influential bands that they take from and cut down on song length and tedious poetry. The production of {^In Keeping Secrets of Silent Earth: 3} keeps the passionate emotion at bay. The double-tracking of guitars can give an interesting {\metal}-influenced sound, as on {&"Cuts Marked in the March of Men"} and {&"The Crowing,"} but production choices hold back the distortion and push up the reverb, keeping the whole record a bit too safe. {$Coheed & Cambria} are at their best when they combine the half-time chumpdowns of {$Braid}-like {\emo} with late-'70s/early-'80s-influenced {\glam} {\pop} stylings. {&"Three Evils (Embodied in Love and Shadow)"} and {&"The Velourium Camper III: Al the Killer"} are {$Coheed & Cambria}'s best examples of their uses of angular, driving {\metal} and passionately sung/screamed double-tracked vocals. {^In Keeping Secrets of Silent Earth: 3} furthers {$Coheed & Cambria}'s efforts to make an epic record, but that may only be in length and a grand vision of the final outcome that falls a bit short. ~ David Serra, All Music Guide