MAMMOTH WVH

The first album that was released under the MAMMOTH WVH name was one of 2021's most unexpected surprises. Not that anyone thought that Wolfgang Van Halen was incapable of forging his own path, but the shadow of his famous father was bound to loom large, at least until a new and hopefully distinctive musical identity had been established.

That self-titled debut did exactly that, and effectively shut down any and all comparisons in an instant. Rooted in a gently commercial strain of hard / alternative rock, it bore little to no resemblance to VAN HALEN and marked its creator out as a gifted songwriter. Now that MAMMOTH WVH no longer require any kind of pre-emptive explanation, "II" is simply the next chapter in the multi-instrumentalist's story.

Understandably reluctant to mess with a winning formula, Wolfgang Van Halen has played and sung every last scrap of "II". Produced at his own 5150 Studio with producer Michael Baskette, these songs retain the subtly unique sound that MAMMOTH WVH unveiled last time around: thunderous, left-field rock 'n' roll evangelism, with a radio-friendly sheen and a heart the size of Los Angeles. This time, the thunder is even more notable, as demonstrated by opener "Right": a beautiful squall of vocal harmonies and uplifting chord shifts that hinge on a brutal, percussive, staccato riff. Somehow, and herein lies the magic, the blend of machine-gun kicks and soaring, ALTER BRIDGE-style melodies works superbly, and every chorus delivers a warm rush of surprise.

Next, "Like A Pastime" is a stuttering but sonorous burst of athletic post-grunge, with hints of glassy-eyed new wave and elegant AOR and a magnificent vocal performance from the big guy. For more straight-ahead, big rock thrills, "Another Celebration at the End of the World" fits the bill: a constantly motoring feast of melodic hooks, harmonies and bullish, punk-metal riffs, it rocks hard and smart, with the incisiveness of FOO FIGHTERS and the swagger of BUCKCHERRY. "Miles Above Me" is built differently, preferring strident, balls-out power-pop, redolent of THE CARS at their pin-sharp best or, if you prefer, a less annoying WEEZER. Either way, it's a sublime piece of pop-rock songwriting, emboldened by the magical sound of loud guitars.

The mood darkens for "Take a Bow", a tense emotional splurge with another huge chorus, jabbing, twisted riffs and an indulgent, prog-blues guitar solo that will delight legacy obsessives. The mood stays gloomy for "Optimist", which offers stealthy prog metal with psychedelic intent, but beautifully balanced out by another extraordinary, memorable vocal from WVH himself. Oh, and the mother of all one-note chug riffs. The darkness clears for "I'm Alright", wherein the spirit of old-school rock 'n' roll is dusted off and given a hearty slap on the back. Pianos clatter, riffs spiral skyward, and vocal harmonies shimmer sweetly in the middle distance: it's a real standout on an album that has no real weak spots.

Whether it's the straightforward melodic rock of "Erase Me", the tearstained soft-alt-rock of "Waiting" or the extravagant, prog-fueled and laudably heavy "Better Than You" — the most epic and adventurous song on the MAMMOTH WVH books thus far — this is one of those big, life-affirming rock albums that defies cynicism and makes the world a slightly less unpleasant place. It's a family tradition, superbly upheld here.