All Killer No Filler
Sum 41 are not especially interested in making the teenage years sound dignified on All Killer No Filler. They make them sound loud, excitable and easily distracted instead. The songs have enough craft to turn that attitude into something more durable than a joke, even if the album's title makes a promise it cannot quite keep.
Fat Lip is the best expression of the band's mixed interests. The quick exchanges of the verses lead into a strong sung chorus, and the shifts between voices keep its familiar guitar attack lively. The song borrows freely from rap and pop-punk, but the pieces fit together with an ease that matters more than originality.
In Too Deep is less busy and just as effective. Its opening guitar line establishes the tune immediately, and the solo gives the middle section a small lift without interrupting the song. Deryck Whibley has the right voice for this material: slightly strained, eager to be heard and willing to let a clear melody do most of the work.
There is good supporting material in Motivation, Rhythms and Handle This. The latter gives the album a more reflective moment, while the quicker tracks keep the basic energy high. Jerry Finn's production helps the parts land cleanly. The music is easy to follow without sounding as though the band have stopped enjoying themselves.
Some of the shorter songs are less convincing. All She's Got and Crazy Amanda Bunkface do their jobs but leave a smaller impression than the strongest choruses. The rhythm section is dependable rather than particularly adventurous, so a weaker tune does not have much else to draw attention towards.
The mock-metal ending of Pain for Pleasure is silly and affectionate, giving the album a final burst of guitar enthusiasm. It also makes sense of the record's loose identity. Sum 41 want hooks, fast songs and permission to show off a little. Enough of those wishes come together here to make an enjoyable, unpretentious album.
