Van Halen
A Different Kind Of Truth

Anno domini 2012. Van Halen Are Back.

After a series of more or less official rumors, the famous American band has returned to the world stage with their new album of original tracks: "A Different Kind Of Truth." But the real news is another. The flamboyant David Lee Roth has returned to his role as vocalist and "moral" soul of the group. It had been several years since the singer and the rest of the band had parted ways, precisely 28 (since their last work together was in 1984). It's inevitable that the anticipation and curiosity to hear a new album with David on vocals is great, especially to understand if Van Halen are still alive. Musically speaking. In fact, in 1998 their most resounding flop was released: "Van Halen III" with Gary Cherone on vocals (singer from the band Extreme). After that album, there was absolute nothingness, a silence that echoed in the fans' and professionals' heads: Do Van Halen still exist? Do Van Halen still want to play? But above all, who will be the new singer for Van Halen? Questions that every good fan has asked for years, hoping for a sign of life, which for a long time there wasn't.

This album is proof that not all is lost. "A Different Kind Of Truth" is a great Heavy-Rock album (as Lee Roth himself recently stated) typically Van Halenesque. Excluding the well-known launch single "Tattoo," every track of the 13 proposed in the tracklist breathes the classic aroma that has distinguished the band in their glorious career, though with some variations.

The CD kicks off at full throttle with "She's The Woman," a song that seems to date back to some 1977 demos (and perhaps it’s not even the only one on the CD), rearranged and re-proposed in a modern rock key. The track is pleasant, and although not extraordinary, it has the nice rhythm of our dear Eddie. We then proceed with "You And Your Blues": a mid-tempo with backing vocals and accelerated finale, more catchy and ear-pleasing compared to the previous track. "China Town" is a powerful and old-fashioned rock gallop (along the lines of hits like "Hot for Teacher" or "I'm The One"): hammering drums with double bass and a crushing bass line provide the base for Eddie's virtuosity that culminates in one of his decent solos, a perfect blend of technique and groove. "Blood and Fire" is another great song that vaguely recalls the Van Halen of the Sammy Hagar period (kudos to the escalating solo), while with Bullethead, the album reaches one of its peaks: another barrage to the chest that stands on an inspired and fierce violent riff. "As Is" is a seemingly unusual piece for Van Halen's sound: introduced by a slow drum part that introduces a slow and heavy riff, the track seems to move on new coordinates for the Californian quartet. In reality, we are facing the third powerful rock outing of the album, in which Eddie freely unleashes his technique. The band is not outdone and follows suit, adding their own. Enjoyable and, if we want, unexpected, is the bluesy interlude of a few seconds after a blazing tapping solo that shakes the listener's eardrums. And thus we arrive at "Honeybabysweetiedoll," the first somewhat underwhelming track, and also a bit banal.

"Outta Space" starts with one of the best riffs of the album, then continues into a decent rock track, again nothing transcendental. We arrive at the best track of the album: "Stay Frosty." It seems to be related to the brilliant "Ice Cream Man," a song from their first album. It splashes in folk blues, fertile ground for Roth's warm voice, who performs a rhythmic spoken part that subsequently opens the way for the electric guitars in the second part of the song, with Eddie, needless to say, unleashing for the pleasure of our ears thirsting for solos and riffs. As for the album's closure, there are "Big River" and "Beats Workin'," two good tracks, well-paced and explosive enough. A fitting closure for a great album marked Van Halen.

The album has no ballads (a hallmark of Sammy Hagar) nor particularly empty shots. These are 13 well-written tracks (or for some well-rewritten and rearranged) that don’t scream masterpiece, but surely don’t scream scandal either. The strong feeling of déjà vu prevails throughout the album, but it is a pleasant sensation. It seems like an album between "1984" and "5150" (the first with Hagar on vocals), with strong references to the 70's rock, the kind that made us fall in love with Van Halen and also with that old fox David Lee Roth. Welcome back rockers, now we will see if the energy of the CD can still be transported on stage, your old warhorse. Years go by, and we hope there's still time for you to prove otherwise. Certainly, the start isn't bad at all...