Heaven :x: Hell
Sum 41
Sum 41 divide Heaven :x: Hell into two clear halves. The first goes back to fast, melodic pop-punk. The second gives their heavier influences more space. For a final album, it is a useful way to acknowledge both sides of the band without trying to fit everything into the same song.
The Heaven side is the more consistent one. Landmines is a strong single, with a clear chorus and enough drive to make its familiar shape feel welcome. I Can't Wait and Time Won't Wait keep the pace moving. These songs don't require the farewell context to work. They are simply good examples of the direct, energetic music the band have always understood.
Deryck Whibley's voice gives even the brighter material a slightly strained edge. That is useful on Bad Mistake, where the personal concerns have more weight than the upbeat arrangement first suggests. Dopamine is another effective melodic track, helped by drumming that gives the song plenty of movement.
The transition into Hell changes the emphasis. Rise Up is the highlight of the heavier half, using its riff and breakdown to give the record a fresh burst of force. Dave Baksh and Tom Thacker have plenty to do here, and the guitar playing keeps the metal influence convincing.
Some of the later material is less memorable. House of Liars has the right weight without quite the same hook, while I Don't Need Anyone doesn't fully settle on the kind of song it wants to be. The cover of Paint It, Black adds a familiar tune and some extra speed, although it is a curious detour this close to the ending.
How the End Begins closes with enough feeling to make the larger idea work. There is a sense of taking stock without leaving the music behind.
Twenty songs could easily have become a duty for the listener, but the album is brisk enough to avoid that. Heaven :x: Hell is stronger in some places than others, yet the best tracks stand on their own. It is a worthwhile final statement with more than sentiment keeping it afloat.
