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Mammoth WVH II: Wolfgang Van Halen Proves Lightning Strikes Twice

After the meteoric rise of Mammoth I, Wolfgang Van Halen continues his musical mastery—and negates any belief that he was a monolithic craftsman of the genre. To understand the standout elements and intricacies of Mammoth II, we’ll break it down track by track and rate each song from one to five.

“Right?” — 3/5
I’ll be completely honest—I got scared when this was the opening to the album. It’s not a bad song, but there’s nothing that made me feel particularly confident about it either. A basic experience with meh instrumentation. Especially as we dig deeper into the record and the bar rises higher, this one feels kicked off into the dust.

“Like a Pastime” — 5/5
What a step up. They had me in the first half, Tokyo drifted left, and left me flabbergasted. The guitar work is unbelievable—it reminds me of a more traditional rock sound with bluesy accents.

This also features one of the best-mixed kicks I’ve ever heard, rattling the low end. The bass is high in the mix, functioning almost like a snare with its punchy, full tone. I think there’s a flanger pedal in the bridge-to-chorus section. Overall, it’s energetic and fully captures the arena rock vibe with a modern touch.

“Another Celebration at the End of the World” — 5/5
A sonic takedown of the ear. The rhythm and lead parts are prominent, heavy-handed, and thrash-inspired. The solos act as bridge fills, tying it all together.

The snare’s prominence enhances the arena-ready sensibility showcased throughout the album. The chorus is fast but stays in the pocket. There’s simplicity here, but it’s not amateur—it’s the work of a musical mastermind.

“Miles Above Me” — 4/5
This track builds off the Epiphany vibe from the first album. A major key, emotionally rich, and one of the most melodic entries on the record.

It’s a lighter track—no standout sections like some others, but in ballad-esque songwriting, structure and lyrics carry more weight. The instrumentation is simple (within Wolfgang’s range), but that’s okay. It fits.

“Take a Bow” — 4/5
As the record mellows, we get Take a Bow. It reminds me of the ‘70s prog scene—think Zeppelin or Rush. Not the scholar-level intricacy of BTBAM or Dream Theater, but you feel the experimentation.

It’s a progressive flare that’s approachable for newer or casual genre listeners. The guitar work is strong, the compositions are dynamic, and the chorus wraps it up perfectly.

“Optimist” — 4/5
Here, WVH introduces a fresh bass tone and combines it with punchy snare work to create a pensive, dissonant melody.

My only gripe: the guitars aren’t as prominent. I get it—the previous track had plenty of rhythm and lead—but come on, not even a little tappy-tappy solo? I’m joking, mostly. The direction the song takes justifies the guitar stepping back.

“I’m Alright” — 5/5
This one surprised me. The previous half of the album leaned into lows and mids—but here, WVH gets fancy with the highs.

The keyboards back the melodies, and the drums stay simplistic. It feels like modernized classic rock—though not bluesy. The choruses are dreamlike, contrasting the more grounded choruses from earlier songs.

“Erase Me” — 4/5
Among the ballads on this album, this is one of the best. I love when a “breakup” song flips the script and focuses on emotional nuance—what the lyrics and vocals are conveying.

It hits that bittersweet spot—grief and disdain in balance. Take notes, Taylor Swift.

“Waiting” — 5/5
The second-to-last track hits hard. I believe it’s a spiritual bridge to Distance from Mammoth I, a song about Eddie Van Halen’s passing.

The flawed mixing amplifies the emotion—it overwhelms you in a way that just fits.

“Better Than You” — 5/5
A powerful finale. It’s a track that showcases WVH’s mastery of melody and speed. Swinging beats and funk-inspired guitars show his love for older sounds, while his high-speed solos carry a raw energy.

The lyrics are dripping with vitriol, and the track builds into a fitting zenith—like a lost anthem from Mammoth II.

Final Thoughts
Mammoth II is easily one of the best post-grunge albums of the 2020s. With a new album on the horizon and a slew of strong singles, I’m genuinely excited to see where Wolfgang Van Halen’s career goes next.