Sum 41
13 Voices

This is not a story about purity or virginity.
To a critical eye, Sum 41 played their cards from the very first cries in the music world with that dreadful 2001 cover, the pool videos, the lowbrow gossip made by Cairo editor, and their contribution to the American Pie soundtrack.

Pop culture quickly files them under the punk revival category, placing them on the same shelf as Green Day and Blink-182. Yet, it must be said that over the years, starting from “Does This Look Infected?” onwards, the four from Ontario have done everything possible to detach from that stream and have tried to clean up their image with a more mature sound less inclined to frivolity.
And “Chuck” in that sense remains the most inspired episode of their discography.

“13 Voices” is the conclusion of a long period characterized by continuous pauses and delays mainly caused by singer Derick Whibley's rehab due to serious alcohol issues and the departure of longtime drummer Steve Jocz.

In the meantime, there was the return of guitarist Dave Baksh to the fold and the entrance of Frank Zummo who replaces Steve on the bass drum and snare.

The sound can be described as a crossover between “Does This Look Infected?” and the latest “Screaming Bloody Murder.”
With a result that also, when tied to the lyrics (expressing Derick's personal moment), continues to be vigorous and at times dark—see “Fake Own Death” among tense verses that seem composed by Strung Out and a powerful quick-grab refrain.

There are still a couple of slow tracks that in some cases lower the average of the album (“War” is a failed attempt to replicate a new “Pieces” or “Breaking The Chain” which is only decent and plays the emotional card with violins, reminiscent of something by Linkin Park), although the final episode “Twisted by Design” with those keyboard incursions is the most successful.

In the middle, there are some bland pieces like “God Save Us All (Death to Pop)” which, however, is balanced by the title track and the fast “Goodamn I'm Dead Again” that concludes in a pyrotechnic manner with a solo by the returning Baksh.

Switching to a non-major label like Hopeless hasn't affected the production, which remains powerful yet very clean. I know deep down you hoped to read between the lines the name Steve Albini as a pretext to rush and listen to it, but I must disappoint you.

Sum 41 are a bit like that naughty student present in every class who gets into all sorts of trouble, perpetually punished and put behind the blackboard for a good part of the lessons.
A student who has now made a name for themselves, collecting verbal warnings and notes in the register, and who is possibly blamed even when they have nothing to do with it or when they strive more than expected despite their limits.

The context since that story began has changed, and the dictionary has been updated along with the audience and its tastes. The times of feuds over how virgin the five could be are gone.

What remains in the end is just another record. More than trust or purity, here nostalgia, curiosity, and boredom prevail.