Sum 41: All Killer No Filler

First off, the title does not lie (mostly). The album opens with the closest thing to filler on the whole record, a spooky spoken-word intro that feels like a joke more than anything else. Thankfully, it lasts about as long as your patience for it, because then we blast straight into “Nothing On My Back.”

Love Sum 41 or hate them, they have always been able to write catchy songs with almost no effort. This album still leans heavily into their punk roots, but it is noticeably more polished than Half Hour of Power. Personally, I wish they had stayed on this path instead of leaning harder into metal later on. This is the sweet spot.

“Never Wake Up” is probably the only other song that flirts with filler status. It is fast, raw, and has a killer breakdown, but it feels like it starts in the middle of a song. It just does not quite flow with the rest of the record.

Then comes “Fat Lip.” Anyone who says this is not one of the catchiest songs ever made is lying. Or needs to be punched in the face. Lyrics about disobedience and conformity, a genre-hopping structure, and that legendary opening riff. The rapping, famously coached by MC Shan who insisted he could teach these white kids how to rap, somehow works perfectly. The breakdown and final build are pure adrenaline. Ten out of ten Goldblums.

“Rhythms” follows and feels like one of the most traditional songs on the album, anchored by a great chorus. Deryck plays with tempo here, bouncing between fast and slow in a way that keeps things dynamic. “Motivation” keeps that momentum going, practically tapping your foot for you. The almost exasperated vocal delivery before the solo is perfectly placed and sets up the back half of the record.

“In Too Deep” lands at the midpoint and was, if I remember right, their second single. I will forever associate this song with Malcolm in the Middle. That chase scene alone cemented it as a pop culture staple. “Give them a reason” indeed Dewey.

The back half dips slightly but never collapses. “Summer” is probably my least favorite track down the stretch, though the riffs are still solid. “Handle This” gives us the first real breather on the album, laid back and well placed. “Crazy Amanda Bunkface” wears its Blink-182 influence proudly, not entirely original but fun, and the second half hints at where the band would head next. “All She’s Got” leans full pop punk. I have always preferred Sum 41 when they are political or representational rather than writing about dating, but it works well enough.

“Heart Attack” closes things out properly. The mid-tempo bridge builds into one of the more aggressive and catchy choruses on the album, making it a great closer.

The record is bookended by spooky outros, which was certainly a choice. “Pain for Pleasure” taps into their metal leanings and honestly sounds a little like Tenacious D. Those two tracks are the only moments that feel truly extraneous. Everything else earns its place.

It is wild to think this band would go on to headline stadiums, release music for over twenty years, and become best-selling authors. The early 2000s were a strange time, but Sum 41 managed to turn it into one hell of a party.