Album review by Luke Petty
“And I don’t wanna believe / That maybe this is the end” – Deryck Whibley sings on ‘Landmines’, the first taste of their new album, Heaven :x: Hell. And man, can we relate? Those opening lyrics hit us right in the feels, just like the news last May that Sum 41, the Canadian kings of pop-punk, were hanging up their guitars. One last album, one last tour – that’s all we had to look forward to before they said goodbye.
Sum 41 have always been like two sides of the same coin for pop-punk and they’re back with a brand new album, Heaven :x: Hell, and it’s an absolute banger. Heaven is a ten-track fist-pumping party, pure, classic Sum 41 that we all know and love. But then there’s Hell. It’s ten tracks of pure metal mayhem, showing a whole new, tougher side to their sound. This album proves two things: Sum 41 can still deliver the sound they made famous, and they’re not afraid to push boundaries. They’ve been at it for almost three decades now, consistently amazing us with their talent. It’s no wonder they’re considered one of the best and most versatile bands out there.
Buckle up, because Heaven, the pop-punk half of Sum 41’s swan song, explodes right out of the gate. ‘Waiting On A Twist Of Fate’, the opening track, hits you with that classic Sum 41 sound – catchy melody, driving guitars, and lyrics that make you wanna pump your fist. And then it slams right into ‘Landmines’, a single so infectious it’s practically begging to become a new anthem.
But wait, there’s more! This album isn’t a two-trick pony. ‘I Can’t Wait’ is a pure adrenaline shot of a song, perfect for screaming along to at a live show. ‘Time Won’t Wait’ throws back to the band’s poppier side, with a chorus that wouldn’t feel out of place on a Simple Plan record. ‘Future Primitive’ and ‘Bad Mistake’ bring back the breakneck energy of Sum 41’s early days, while ‘Dopamine’ and ‘Not Quite Myself’ showcase their ability to craft beautiful melodies alongside the punk rock rawness. Even the slower ‘Radio Silence’ packs a punch, reminding you of the emotional depth they explored with tracks like ‘Pieces’.
Just before things get too mellow, ‘Preparasi A Salire’ (which translates to “Get Ready To Go Up”) acts as a bridge between Heaven and Hell, the album’s metal half. This slow, melodic track is a cool way to build anticipation before we dive headfirst into the mosh pit.
Heaven may have kicked things off with a party, but Hell on Sum 41’s farewell album brings the mosh pit. ‘Rise Up’ explodes with aggression, the bass thumping like a heartbeat as it pushes the boundaries between punk and full-on metal. Dave Baksh, the band’s guitar maestro, unleashes his signature shredding on tracks like ‘Rise Up’, ‘I Don’t Need Anyone’, and ‘You Wanted War’ reminding us why his blistering solos have always been a key part of the Sum 41 sound.
Things get downright thrashy on ‘Over The Edge’; a pummelling assault with a monstrous bass line and drums that pound like war drums. They don’t hold back on their cover of The Rolling Stones’ ‘Paint It Black’ either, transforming it into a metal beast with thrashing guitars and a militant drumbeat before completely reinventing the song with their own ferocious take on the melody and lyrics.
‘It’s All Me’ slams in with a wall of gritty guitars, bass, and vocals, leaving no doubt about Sum 41’s raw power. The album closes with a gut punch – ‘How The End Begins’ is a slow, contemplative track with deep lyrics that grapple with the nature of endings.
Despite being their final act, Heaven :x: Hell doesn’t feel like a funeral dirge. It’s a celebration – a double album packed with bold, aggressive tracks that showcase both the pop-punk heart and the metal muscle that have always defined Sum 41. They may be going out, but they’re doing it on their own damn terms, leaving a blaze of sonic glory in their wake. Thank you Sum 41.
