Instant Impressions: 'Heaven :x: Hell' by Sum 41

It’s always difficult to say goodbye to your favorite bands whenever they decide to call it a career and ride off into the sunset – whether they’re an artist that overstayed their welcome by riding the wave of nostalgia for too long or a band that exited too soon and left their fanbase wondering what more they could’ve achieved had they continued, farewells are always a bittersweet event for music fans. Of course, there’s always the question of whether or not it’s REALLY the end due to several artists returning after a certain amount of time (not naming names, but classic rock fans can definitely name a few examples very easily), but the uncertainty and finality of the situation can be hard for some fans to come to terms with — also, acknowledging that the music still lives forever even though there will never be any more new material or live shows isn’t always much of a consolation for the hardcore fans.

The latest swansong comes from pop-punk icons Sum 41, whose unexpected retirement announcement sent shockwaves through the alternative rock community. Their latest album, Heaven :x: Hell, had been in the works for several years, but nobody knew until last year that it would end up being their final studio effort. What makes this release even more unique is the fact that it’s a double-album, with the first ten songs having a classic pop-punk sound that nostalgic old-school fans would likely be fond of, and the second side leaning more into the heavier “Sum-tallica” sound that the band has cultivated in more recent years on albums like Screaming Bloody Murder (2011) and Order in Decline (2019). In short, this new album is a sort of career-spanning record that covers their past and present sonic territories through the 20 new songs on it, a concept that now feels like the perfect way to close off their discography.

Now that the time has come to listen through the full album, feel free to listen along and follow my real-time track-by-track reactions below:

1. Waiting On A Twist of Fate (2:47)

• What’s fun about this song is that the verse sounds like something that could’ve been on the Chuck (2004) album, while the chorus sounds straight out of Underclass Hero (2007)
• 1:52-2:03 is enough to prove that pop-punk needs more guitar solos
• For the “Heaven” side and the album as a whole, I can’t think of a better song to kick things off

2. Landmines (2:56)

• While this was the first single for the album, I’m still not tired of listening to it — much like the title track to Alkaline Trio’s Blood, Hair, and Eyeballs released earlier this year, it’s infectiously catchy and just doesn’t get old, no matter how many times you’ve listened to it
• Can’t even begin to imagine how much fun this is to hear in a live setting
• It’s hard to believe that vocalist Deryck Whibley originally wrote this for another artist, because it sounds tailor-made for Sum 41

3. I Can’t Wait (2:06)

• They really weren’t messing around with leaning into the pop-punk sound on this side — that opening chord progression instantly brings you back to the early 2000s
• Yet another chorus that’s going to be stuck in my head for days
• I get that pop-punk songs are supposed to be short and fast, but 2:06 is crazy — I don’t think anyone would be mad if it was just a little longer
• For a band that’s gone in a heavier direction with their sound over their last few albums, it’s incredible how well they’re able to return to their roots like this

4. Time Won’t Wait (2:31)

• After the breakneck speed of the previous song, this is a fun change of pace
• Love the guitars in the instrumental break towards the end of the song
• There are so many bands I can think of that make songs like this with similar rhythmic and melodic structures, but Sum 41 has some of the best execution of them all, in a way that the listener can always tell when a song is written and performed by them

5. Future Primitive (2:13)

• As a fan, I always love to listen to how new songs from my favorite bands are similar to their previous work, and this song fits perfectly between Does This Look Infected? (2002) and Chuck in my opinion
• Can’t help but wonder if that was an intentional lyrical nod to “We’re All to Blame” in the chorus
• With how many guitar solos and instrumental breaks there have been on this side so far, I’m really curious to hear what it’s like on the second half

6. Dopamine (3:07)

• The further I get into this album, I keep asking myself what it would’ve been like if Sum 41 kept their pop-punk sound this whole time instead of going into a heavier direction later on because it’s wild how well these new songs mix with their older material
• It’s not at all surprising that this song ended up being the latest single either

7. Not Quite Myself (2:55)

• Musically, I feel like if “Rhythms” was on Chuck, it would’ve sounded a lot like this song
• With how long we’ve known about this album before its release, it makes me wonder when some of these songs were written, because this one would’ve been a great track to release as a single during Sum 41’s tour with Simple Plan in 2022

8. Bad Mistake (3:04)

• I like how this song builds up to the chorus — the very beginning is relatively quiet and progressively gets to the point where the chorus is full-volume and in your face like how the rest of the album’s been to this point
• I’m not even halfway through the album but I’m at the point where I wish there could be a tour where they just play this album from front to back. Everything so far has been awesome and if they weren’t on their final tour right now, then a tour like that would be a great way to celebrate the accomplishment of this album

9. Johnny Libertine (1:36)

• It’s hard not to love the fast pop-punk tunes like this
• With how fast these songs are, it’s hard to get my thoughts together while listening to them, but the straightforward breakneck speed and catchy melodies are always satisfactory

10. Radio Silence (3:24)

• Even though they’re different sonically in terms of volume, it’s cool how the lyrics from the verse to the chorus flow like it’s one full sentence
• To that point, I love how the bridge is also able to be put in the background during the final chorus
• This could’ve easily been the end of the album altogether, so knowing that this is only the halfway mark is awesome

11. Preparasi A Salire (1:09)

• The vocal layers and effects in the intro is a very interesting way to start this second side
• Nice to hear the instruments slowly come into earshot
• Having already heard the next song (yes, it was a single), it’s a nice touch to have this song lead into the next, both musically and lyrically

12. Rise Up (3:17)

• Admittedly, I haven’t listened to this single as much as “Landmines,” but this is still a banger — it fits right in with the sound of their last two albums, 13 Voices (2016) and Order in Decline
• While it still has the same pace and energy as some of the pop-punk songs, you can still tell there’s a sonic shift with the tuning of the guitars giving it more of a metal sound (the metal elitists won’t want to admit it, but that’s what it is)

13. Stranger In These Times (2:58)

• We love bass intros — we need more of them in rock music
• The meter shift from the verse to the pre-chorus *chef’s kiss*
• There hasn’t been a weak chorus on this album yet, but this one might be one of my favorites
• Also might be one of my favorite songs on the album from a lyrical standpoint

14. I Don’t Need Anyone (3:11)

• As a big fan of early 2000s hard rock, I really appreciate the intro to this song — the prominence of the bassline during the verse is a great touch too
• Compared to the verses, the chorus sounds bigger and more open
• LOVE the buildup to the guitar solo, and the solo section itself is probably the strongest part of the entire song

15. Over The Edge (3:10)

• At this point, it feels like every song is stronger than the next — the intro alone is perfect moshing material
• Again, another great meter shift between the verses and the chorus, and a seamless transition
• Sum 41’s never been known for breakdowns, but I’m so glad this song has one

16. House Of Liars (3:07)

• One would think that 16 songs is too long for an album, but I still have yet to hear a weak track
• I don’t know why my ears haven’t really taken notice until this late in the album, but the drums sound incredible
• The transition from the second chorus to the instrumental break is wicked smooth too

17. You Wanted War (3:32)

• I guess you’re doing something right as a pop-punk/hard rock band when the longest song on the album is just over three and a half minutes
• Again, the palm-muting of the guitars in the verse and freely strumming during the chorus is such an effective tactic
• Always appreciate backing vocals in the chorus as well
• I’m saying it now, Sum 41 has the best guitar solos in all of alternative rock — if it wasn’t already an obvious claim, this album has solidified it

18. Paint It Black (2:43)

• I wasn’t expecting to hear any covers on this album, nevermind a Rolling Stones cover
• As a fan of the original, I have to admit that I do enjoy this version a little more — it might be because of the production quality, could be the more upbeat energy behind it, maybe the fact that I prefer Whibley’s voice over Mick Jagger’s, or a mix of all of it

19. It’s All Me (2:19)

• Going from a Rolling Stones cover to a rager like this is just the type of chaotic juxtaposition that I love about this band and the music they make
• Whibley’s vocals have been fantastic throughout this whole album, but his voice sounds exceptionally strong on this track
• AND THERE’S ANOTHER GUITAR SOLO

20. How The End Begins (3:17)

• From a musical standpoint, it already feels like the right way to end the album, but then the lyrics hit and it really makes sense why this is the last track
• When you think about the fact that this isn’t just the ending of an album, but the final song of the band’s career, it really takes on a whole new meaning
• As a lifelong fan, I can’t be happier with this song and it’s place on the album

Sum 41 has never been the type of band to do what’s expected of them — look no further than the release of 2011’s Screaming Bloody Murder, their heaviest album at the time, after receiving a lot of external pressure to make another accessible pop-punk record — however, it’s safe to say that Heaven :x: Hell is both a very welcome surprise and the perfect way to cap off their discography. While all the material is fresh and new, listening through the album feels like riding in a time machine and reexperiencing every sonic era of their career. It’s wild to hear Whibley say that he wasn’t sure if he could even write pop-punk songs anymore because it had been so long since the band went that musical direction, because the whole first side of this album shows that they haven’t lost a touch in that area. To the second side’s credit also, this new album has some of the best material in their heavier era, with songs like “Stranger In These Times” and “You Wanted War” being stellar examples.

Not enough praises can be sung about how well this album represents the band’s sound, history, and musicianship — this may very well be the ultimate Sum 41 album. While we know this is their final album, it feels more like a celebration than a somber goodbye. Truth be told, it’s understandable that Deryck Whibley wanted this to be the band’s last album after completing it, because it covers all the bases, and appeals to all sides of their fanbase. For fans who only prefer one style over the other, they have an entire standard album’s worth of material to dig into — for fans who love every album of theirs (myself included), this double-album is the best parting gift to receive from the band.

Unfortunately, while I’ve never seen the band live and won’t be able to attend their farewell tour, I’m almost more upset at the fact that there are songs from this album that’ll never be played live — like I said earlier in this reaction, I still believe that playing this album from front to back would be an awesome tour idea. Regardless, as a lifelong fan of Sum 41’s work, from the hits like the Guitar Hero standout “Fat Lip,” to the American Pie 2 (2001) soundtrack hit “In Too Deep,” to the Godzilla: Final Wars (2004) needle drop “We’re All to Blame,” to the introspective “War,” to the sentimental “Best of Me,” or literally anything in between, I can’t say enough how proud I am of this band for the strength of this release and succeeding in going out on top.

Sum 41 is currently on the road in the States for their final world tour, with their final show taking place in their home territory of Toronto, Ontario, Canada on January 30, 2025. For tour dates and tickets, click here.

With an album this long, I’m choosing 3 standout tracks from each side instead of 3 total, because that’s just not fair —

Top 3 standout tracks from “Heaven”:

• Landmines
• Time Won’t Wait
• Not Quite Myself

Top 3 standout tracks from “Hell”:

• Stranger In These Times
• You Wanted War
• How The End Begins

If you listened along and also enjoyed the album, you can buy/stream Heaven :x: Hell here.

To keep up with Sum 41, click here.

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