Imaginary Enemy’s first few songs, though – fist-pumping anthem “Revolution” at least opens the album on a strong, rock-driven note; Bert’s cries of “This is the end, calling for revolution” coupled with guitarist Quinn Allman’s aggressive riffs create an expressive aura that is reminiscent of the In Love and Death era – his screams at the track’s conclusion only further signify this. Lead single “Cry” isn’t too shabby either; it’s anthemic hook and screamed bridge blend the album’s poppier tendencies with the emotion and anger of their early albums. Its lyrics can be a little immature and juvenile at times (“I’m gonna make you beg just for making me cry” seems ripped straight out the stereotypical teenage breakup book), but its blemishes are easy to overcome. The frantic “A Song to Stifle Imperial Progression (A Work in Progress)” may not live up to Bert’s description as ‘the heaviest song we’ve ever written’, but Dan Whitesides’ furious drumming gives it an edgier feel. Even “El-Oh-Vee-Ee” takes the best of the pop sound and runs with it, creating a fairly enjoyable tune. The Used’s experimentation into a poppier sound is not why Imaginary Enemy marks the band’s worst release to date. All the energy and emotion that used to define them are gone, and it’s been replaced by uninspired vocals, lazy instrumentation and overproduction. They’ve always been a band driven by passion, and only traces of it are still discernable. While this isn’t entirely to blame on their new sonic direction, one can only ponder if the lack of energy was caused by their desire to explore new sounds. Although McCracken has stated in interviews that he wanted Imaginary Enemy’s pop sound to lead to more catchier material, it’s done exactly the opposite for him. Aside from the first four tracks, the album lacks a memorable moment - the choruses of "Generation Throwaway" and "Make Believe" are meant to get stuck in your head, but they never accomplish that goal. If this is what The Used have to offer, to me it's only make believe.