“Why doesn’t anything good ever last?”
The infectious nostalgia that comes with Sum 41 is always a pleasure to indulge in. Their skate-park pop-punk was the soundtrack of yesteryear for many, and much of their discography still holds up after 20-odd years. Such veneration extends all the way to their later work, with Screaming Bloody Murder more than equal to their early highs at times. Decades of work has now lead Sum 41 to their final record, a split record between pop-punk and metal. It’s a bold move that has produced a questionable result, a move that only a band could do as they brazenly hand in their notice.
Moving through the first half of the split (and unfortunately the weaker side), catchier moments on “Landmine” and “Dopamine” make Whibley‘s unique vocals the centerpiece, which are arguably unmatched in their style. The anthemic nature that Sum 41 have more than honed their craft on over the years remains strong. While the hooks and lyricism could be completely ham-fisted if they were done by anyone else, even on the lamenting “Not Quite Myself“, it’s near-impossible not to have these refrains spin round the mind even after they’ve departed.
Besides the effective vocals, it’s strange knowing where to place much of the tracks here. “Landmine” is an example where Sum 41 perhaps delve too far into MGK-esque stylings as the band revel in unsubtlety, which worsens on “Dopamine” and other tracks. The saving grace is “Future Primitive” which has the pace and attitude that Sum 41 made their own popularity on. This slowed track looks to match the air of the likes of “Crash” and “Pieces“, which it manages, though the pop-punk styling pulls it towards ‘anthemic’ rather than ’emotive’.
The latter half of the split, which sees Sum 41 shift the tuning in their guitars to jam out metal riffs, is much more of a simply enjoyable listen. “Rise Up” has a force and swagger to it that has come to be expected from Sum 41. As the riffs continue to strum away on “I Don’t Need Anyone“, it’s difficult to know whether these tracks are landing just because the first half of the record was weak. However, as side two goes on, the record’s length becomes its greatest enemy.
Later tracks “House of Liars” and “You Wanted War” are perfectly serviceable Sum 41 tracks, yet it is where the question of how much Sum 41 is really needed in one package comes into view. And that’s despite knowing this record will be their last – even for some of the biggest fans of the Canadian group out there, Heaven :x: Hell will feel bloated. The odd inclusion of a cover of “Paint It Black” is where the extended nature begins to put a strain, as it’s difficult to see what purpose it serves other than to pad it out so each side is even on track numbers. Was this the band who debuted with All Killer No Filler?
As the reflective “How The End Begins” closes out Heaven :x: Hell, it finally hits home: one of the most noteworthy acts of the 00s is hanging up their boots before our ears. Yet just how long it takes to get to this moment takes away from that. And given how there is much that does litter to bolster Sum 41‘s discography, whether how much of the journey through their final record was worth it.
It’s commendable it is for Sum 41 to close it out on their own terms, something that not all bands get to to, particularly those with a storied history. Heaven :x: Hell is a bold statement which will see them end on a questionable note creatively. While nothing here is terrible enough that it sours the legacy of the band, it has the all-guns blazing mentality of someone on the way out. Heaven :x: Hell delivers a few misfires in amongst its well placed shots.
5/10
Heaven :x: Hell releases March 29th via Rise Records, and can be pre-ordered here.