ALBUM REVIEW: Mammoth WVH – Mammoth II



In October 2020 the world lost a true musical legend when iconic guitar icon Eddie Van Halen passed away, signalling the end of one of the all-time classic American Hard Rock bands. In the aftermath his son Wolfgang Van Halen, himself a touring bass player for his father’s band since the tender age of 15, released his first solo album as Mammoth WVH. The record was in many ways a heartfelt tribute to his father as highlighted on the songs ‘Distance’ and ‘Mr Ed,’ and had been in the works since Wolfgang had started recording in Eddie’s legendary 5150 studio way back in 2015.


Wolfgang proved that the apple never falls far from the tree as he performed all instruments on the debut, while also showing his credentials as a more than credible Hard Rock vocalist. High-profile tours followed as he took to the road supporting the likes of Guns n’ Roses, Metallica and Alter Bridge. Having spent so long working on his debut project, it was always going to be interesting to see where he took Mammoth WVH (named after the original moniker for Van Halen) next.

And the answer provided by Mammoth II (BMG Music) is, well, more of the same really. 


Wolfgang has established a sound that he’s clearly comfortable with as he seamlessly blends melodic hard rock with an alternative nineties influence, and for the most part has a great knack for writing one hell of a catchy tune. And for album number two at least, he doesn’t appear to lean too far from his comfort zone, the album opening with a crunching riff on ‘Right’ and a strong vocal delivery. Wolfgang shows virtuoso guitar playing on the solo, which shines again on ‘Take a Bow’  which features a sublime instrumental section and a solo with a section of insane finger tapping that sounds as if it was ripped straight from his father’s hands.


The production and sound of the record is absolutely spot on throughout, and the mix of tremolo guitar picking and a sumptuous rolling bassline blend perfectly on ‘Like A Pastime’. ‘Another Celebration at the End of the World’ has a nice percussive opening with stabbing guitars and proves to be a quality bit of rock, up-tempo and incredibly well executed by the versatile musician. And it’s when Wolfgang flirts with the heavier side within him that for me the album flourishes, none less so than on the excellent ‘Optimist’ which provides the album’s darkest tone.  

Buy the album here:


7 / 10