There’s something to be said about going out on your own terms. Over time there have been plenty of athletes, actors, artists, and bands who have hung on too long to try and recapture that early spirit found in their careers, with mixed results. Sum 41 announced that Heaven :x: Hell, their eighth studio album, would be their final record in their career, and what a hell of a way to “call your own shot” by leaving behind a bulletproof discography. This double album plays out like a greatest hits compilation in the way that they touch on various stages of their career. The early songs, found on the Heaven side, lean closer to their pop-punk roots, while the back half (Hell) relies on heavy riffing and metal-tinged elements. By delivering what I consider to be their finest and most complete work of art to date, Sum 41 can look fondly back upon their legacy.
The Heaven side blasts off with the slick pop-punk on the third single released, “Waiting on a Twist of Fate,” as lead singer Deryck Whibley triumphantly sings on the chorus, “And now I’m done with lies / And everything that you’ve got to say / I’ve opened my mind / But it’s more than I could ever take / And if I had more time / Well, maybe I could find some faith / I can’t spend my life / Just waiting on a twist of fate.” The lyrics allude to the fact that Sum 41 are calling it a career, while still leaving room for other interpretations on the inspiration behind the song. “Landmines” was the first single to be released from the set, and fits comfortably in the sequencing of the album. It gets its momentum established with a pulsating bass line in the verses by Jason “Cone” McCaslin, while the triple-layered guitars really stand out in the chorus. It’s arguably one of the strongest songs in Sum 41’s career, and made perfect sense as a lead single.
”I Can’t Wait” revisits the All Killer No Filler days with a quick punk rock song about not having time for the people trying to bring you down. “Time Won’t Wait” is a mid-tempo track that builds momentum as it unfolds, and Whibley’s vocals stand out through the powerful backing instruments as he sounds as polished as he’s ever been here. “Future Primative” sounds like it would have fit well on Does This Look Infected?, while the band are just simply better in their overall execution of their sound on this double album. My favorite song in the set, “Dopamine”, was released as a single when the album dropped and it reminds me a bit of the style the band went for on their underrated Underclass Hero. The track does a great job of playing to the band’s strengths and rewards the listener on subsequent spins with intricate guitar parts that demand to be absorbed fully.
The front half closes out with some great mid-tempo tracks like “Not Quite Myself,” the bass-groove and dancey drumbeat found on “Bad Mistake,” the speedy pop-punk on “Johnny Libertine,” leading up to the ballad of “Radio Silence.” On the closing power-ballad, Whibley sings cautiously over a piano, “When all my faith just brings me down / And I can’t stand on solid ground / Memories that I can’t erase / I’m stuck in that old familiar place / I wish that I could let things go / I wouldn’t have to feel this low / And I don’t want to bring you down / But I fear I’m going to.” It’s a somber admission of what Whibley has gone through in his life, and yet he keeps a steady heading towards the light at the end of the tunnel.
After a brief introductory track of “Preparasi A Salire” that features Whibley’s vocals through a vocoder, the Hell side gets off to a raucous start on “Rise Up.” The heavy metal riffing feels right at home with the style that the band went for on Order In Decline, paired with some of the crisp songwriting found on Chuck. The speed metal found on the chorus feels like the band are having as much fun as possible on their closing statement. The cool riffing found on “Stranger In These Times” showcases the band’s musical chops, and the lyrical material still remains top notch. Whibley seems fed up on the second verse of, “I’m bored of imbecilic morons, dear God, it’s frightening / Your time is up so I’ll just leave you all behind / ‘Cause nothing’s sacred and I’m betting it’s not likely / (I don’t expect you to understand me) / That you could find yourself a new temptation.”
”I Don’t Need Anyone” features a great bass line and pulsating drumming, while the guitars sound as full and loud as possible in their delivery. The band kicks into a new gear with the Metallica-esque “Over The Edge,” while “House Of Liars” relies on atmospheric tones to deliver the right vibe. “You Wanted War” leans heavily on big riffs, and the Rolling Stones cover of “Paint It Black” fits perfectly into place in the sequencing to give the audience a chance to sing along with a classic.
The closing duo of the heavy “It’s All Me” and the sprawling rock of “How The End Begins” marks a fitting end to a great career by Sum 41. The last chorus of, “Now it’s the end, we can’t get it back / Why doesn’t anything good ever last? / I gave it all I could give, only to question if / This is how the end begins and I should’ve known / This is how the end begins and I should’ve known / ‘Cause this is how the end begins and I should’ve known,” finds Sum 41 coming to terms with this being their final album, and they can certainly hold their heads up high knowing that they accomplished more than most bands would have ever dreamed of. Sum 41 are going out on their own terms, and it’s a beautiful thing to watch since they have delivered their most profound artistic statement to date on Heaven :x: Hell.