Mammoth WVH
Mammooth II

“The second album is always the hardest in an artist's career”. As Caparezza sang in “Il Secondo Secondo Me”, it's an undeniable truth.

After the great success of the debut album “Mammoth WVH” (see my review), Wolfgang “Wolfie” Van Halen, son of the great, late Eddie Van Halen, tried again, exactly two years later.

After lightening the weight of his artistic legacy and transforming the pain of his father's loss into awareness and motivation, Wolfgang has decided to prove he has grown even further. With very satisfying results, it must be said right away.

He has again taken care of the composition and writing of the songs by himself, as if it were a one-man band (or Dave Grohl), entrusting the production to Michael “Elvis” Baskette and the release to BMG Records.

The recordings were once again done at the legendary 5150 Studios in Los Angeles, at 3371 Coldwater Canyon, where all Van Halen works have been created since 1984 and the homonymous album (“1984”, so to speak).

The sound of the ten tracks winks at early millennium rock but with no yellowing and plenty of freshness. The multi-instrumentalist Wolfgang, who never fails to show his humility in every interview, cannot help but demonstrate he has truly become “great”, in a world of greats.

We understand it right away with the opening “Right?”, which speeds up the pace, skipping the warm-up. Octaves ready for high altitudes and engaging hard rock open the dance. It takes little to remember how high the compositional level of Mammooth WVH's pieces is, and the awareness increases as minutes pass.

“Like a Pastime”, “Miles Above Me”, “Erase Me”, and “I’m Alright” are pure rock, sparkling pieces with choruses that aren't easily forgotten. “Waiting” is the classic emotional ballad, filled with melancholy, suitable to be dedicated to those we love.

Memorable “Another Celebration at the End of the World”, the first single released by the band, markedly influenced by eighties riffs. The power pervades the entire track, from the strings to the drums and the voice; it even reaches a splendid tapping solo (a clear homage to dad Eddie), closing with breathlessness and a lot of adrenaline.

But it is with “Optimist” that growth and change are more evident. The sound becomes heavier and scratches. The groove recalls early Alter Bridge, and the riffs, as happened with the debut album, immediately remind one of past experience with Mark Tremonti's band (Tremonti Project).

“Take a Bow” becomes a separate chapter. To record it, Wolfgang wielded Eddie's legendary red, white, and black “Frankenstrat” (Frankenstein+Stratocaster). It is the longest track in the band's discography, with its seven minutes, and also the most emotional. Second only to “Distance”, it's a heartfelt dedication to an extraordinary father, a sort of album of memories made more precious by Wolfgang's musical imprint.

The conclusion is entrusted to the mid-tempo “Better Than You”, perhaps the least exciting track, but it still rounds off a truly well-done work.

The lyrics of a good part of the tracklist suggest a sort of inner dialogue. The singer puts the ego in the background, demonstrating the intention to achieve goals without haste and arrogance. Avoiding delegating everything to a big name or a glorious past.

“Mammooth” was the name chosen by Eddie and Alex before the band was called “Van Halen” (the change was suggested by David Lee Roth). A name left inside a golden box of memories, which young Wolfgang couldn't wait to open.

That name, imbued with motivation and pride, with an acronym to accompany it, is synonymous with gratitude, love, and humility, held together by a lot of ambition.

Wolfgang Van Halen is this: a young artist, perhaps too humble, in a world that must be faced amidst the judgment of others. A young man who is undoubtedly an example and a reference point for the new generations of rock.

One is always someone’s child, but if one is a child of art, the legacy becomes a privilege.

Well done, Wolfie, dad will undoubtedly be proud.