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Track List
01) Revolution
02) Cry
03) El-Oh-Vee-Ee
04) A Song to Stifle Imperial Progression (A Wor
05) Generation Throwaway
06) Make Believe
07) Evolution
08) Imaginary Enemy
09) Kenna Song
10) Force Without Violence
11) Overdose
01) Revolution
02) Cry
03) El-Oh-Vee-Ee
04) A Song to Stifle Imperial Progression (A Wor
05) Generation Throwaway
06) Make Believe
07) Evolution
08) Imaginary Enemy
09) Kenna Song
10) Force Without Violence
11) Overdose
4:04
3:30
3:32
4:05
3:05
3:27
4:38
3:24
4:20
5:23
14:41
Data Complete
70%
Total Rating
70%Total Rating
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CD Art
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3D Flat
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First Released
2014
Emo
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Punk
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Medium
Album
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Album Description
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"Imaginary Enemy" is the sixth studio album by American rock band The Used, released April 1, 2014, It is the first album released on, and the second label the band created and own, GAS Union.
Imaginary Enemy is the final album to feature guitarist Quinn Allman before he parted from the band in November 2015.
User Album Review
The sixth long-player from the shape-shifting, stalwart, Utah-bred punk rockers opens with a song called "Revolution" that houses the lyric "From now on I pledge allegiance to a world that's so much different/where no one suffers/everyone is free." It's an uplifting image, and one that Bert McCracken and company haven't always evoked, but more than a decade into their career, the Used have carved out their own unique niche in the crowded post-hardcore/screamo punk scene, and have earned the right to reflect on what they've been raging against since their 2002 debut. Working again with longtime producer John Feldman, Imaginary Enemy burns bright and fast, tearing through familiar (as in largely generic), classic anti-establishment punk themes with the subtlety of a mace to the face, but there's a wild, anything-goes spirit (and a genuine yearning for change) that guides much of the material, suggesting that the studio may have housed a sizeable window to accommodate the tossing out of the rule book. For every "Cry," "Generation Throwaway," and "El-Oh-Vee-Ee," all three of which are fist-pumping, largely traditional-sounding 21st century punk rallying cries that effectively utilize the Used instant-chorus generator, there's an "Evolution" or a "Song to Stifle Imperial Progression (A Work in Progress)," the former a dreamy, radio-ready power ballad and the latter a freak show mash-up of feral, Sunset Strip metal and Big Audio Dynamite-induced dance beats, and it's these aberrations that make Imaginary Enemy such a surprisingly fun ride, even as it's beating you over the head with cliches.
AllMusic Review by James Christopher Monger
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User Comments
Available in:
"Imaginary Enemy" is the sixth studio album by American rock band The Used, released April 1, 2014, It is the first album released on, and the second label the band created and own, GAS Union.
Imaginary Enemy is the final album to feature guitarist Quinn Allman before he parted from the band in November 2015.
User Album Review
The sixth long-player from the shape-shifting, stalwart, Utah-bred punk rockers opens with a song called "Revolution" that houses the lyric "From now on I pledge allegiance to a world that's so much different/where no one suffers/everyone is free." It's an uplifting image, and one that Bert McCracken and company haven't always evoked, but more than a decade into their career, the Used have carved out their own unique niche in the crowded post-hardcore/screamo punk scene, and have earned the right to reflect on what they've been raging against since their 2002 debut. Working again with longtime producer John Feldman, Imaginary Enemy burns bright and fast, tearing through familiar (as in largely generic), classic anti-establishment punk themes with the subtlety of a mace to the face, but there's a wild, anything-goes spirit (and a genuine yearning for change) that guides much of the material, suggesting that the studio may have housed a sizeable window to accommodate the tossing out of the rule book. For every "Cry," "Generation Throwaway," and "El-Oh-Vee-Ee," all three of which are fist-pumping, largely traditional-sounding 21st century punk rallying cries that effectively utilize the Used instant-chorus generator, there's an "Evolution" or a "Song to Stifle Imperial Progression (A Work in Progress)," the former a dreamy, radio-ready power ballad and the latter a freak show mash-up of feral, Sunset Strip metal and Big Audio Dynamite-induced dance beats, and it's these aberrations that make Imaginary Enemy such a surprisingly fun ride, even as it's beating you over the head with cliches.
AllMusic Review by James Christopher Monger
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