Mammoth II arrives on August 4th. Watch the music video for single "Another Celebration at the End of the World" now.
On the heels of a whirlwind debut that included a Grammy-award nomination for his first-ever single, #1 debuts on multiple charts, television performances, and sold out shows over a two-year span, Mammoth WVH is back with its sophomore album Mammoth II. The 10-track record will be available worldwide on August 4th via the band’s new label, BMG. Recorded at the legendary 5150 studio, the album was produced by friend and collaborator Michael “Elvis” Baskette. Mammoth II is available for pre-order in multiple configurations here: https://MammothWVH.lnk.to/MammothIIPR.
Continuing the tradition of writing all of the songs and performing all of the instrumentation and vocals himself, Wolfgang Van Halen set out to challenge himself to expand his sound beyond what people had already come to know him for. From the rocking opener “Right?” to Beatles-esque fade on closer “Better Than You” Mammoth II showcases the growth of Wolfgang as a songwriter, musician and especially vocalist. Songs like “Like A Pastime,” “Take A Bow” and “Waiting” are all sonically different from each other but unique to what mastermind Wolfgang Van Halen and Mammoth WVH is. The debut single from Mammoth II is the upbeat rocker “Another Celebration At The End Of The World.” The single is currently impacting radio and the music video for “Another Celebration At The End Of The World” is an 8:25 introduction to the Mammoth WVH live band. Picking up where the #1 single “Don’t Back Down” music video left off, the new video showcases a frustrated Wolfgang firing the other Wolfgang’s from that video and replacing them with his now notorious live band featuring Frank Sidoris (guitars), Jon Jourdan (guitars), Ronnie Ficarro (Bass) and Garrett Whitlock (drums).
Mammoth WVH - Another Celebration at the End of the World (Official Music Video)
“I knew that I wanted the new album to contain elements of what people heard on the debut, but also giving me a chance to branch out a bit. ‘Another Celebration At The End Of the World’ is definitely a song that showcases what people can expect from the new album. It is a high-energy rocker with some fun guitar moments on it. I also pushed myself vocally and it is a song I can’t wait to get out and play live. I can see it being a fixture in our live set moving forward,” explains Wolfgang Van Halen
Track Listing
1. Right?
2. Like A Pastime
3. Another Celebration At The End Of The World
4. Miles Above Me
5. Take A Bow
6. Optimist
7. I’m Alright
8. Erase Me
9. Waiting
10. Better Than You
Photo by Travis
Mammoth WVH is planning to tour around the globe in support of Mammoth II. The live band – comprised of Wolfgang Van Halen, Frank Sidoris, Jon Jourdan, Ronnie Ficarro and Garrett Whitlock - is currently on the second leg of the US tour supporting Alter Bridge before moving to another massive tour playing alongside Metallica. Mammoth WVH will also be making various festival appearances around the globe as well as headline stops going in to 2024. More dates will be announced in the near future tickets for all Mammoth WVH appearances can be found here: https://www.mammothwvh.com.
Tour Dates 2023
Mar 23 – Seattle, WA – Paramount Theatre *
Mar 25 – Airway Heights, WA - Northern Quest Resort & Casino *
Mar 26 – Airway Heights, WA - Northern Quest Resort & Casino *
Mar 28 – Anaheim, CA – House Of Blues *
Mar 29 – Tempe, AZ – Marquee Theatre *
Mar 31 – Reno, NV – Silver Legacy Resort Casino *
Apr 1 – Highland, CA – Yaamava Theater *
Apr 27 – Amsterdam, NL – Johan Cruijff ArenA #
May 19 – Paris, FR – Stade de France #
May 26 – Hamburg, DE – Volksparkstadion #
May 29 – Berlin, DE – Hole44
May 30 – Frankfurt, DE – Das Bett
Jun 1 – Köln, DE – Gebäude 9
Jun 3 – Tilburg, NL - Poppodium 013 *
Jun 6 – Edinburgh, UK – O2 Academy Edinburgh *
Jun 8 – Castle Donington, Derby, UK – Download Festival
Jun 10 – Sölvesborg, SE – Sweden Rock Festival
Jun 13 – Stockholm, SE – Gröna Lund *
Jun 15 – Dessel, BE – Graspop Metal Meeting
Jun 16 – Göteborg, SE – Ullevi #
Jun 17 – Copenhagen, DK – Copenhell Festival 2023
Jun 20 – Ludwigsburg, DE – Mhp Arena
Tour Dates 2024
May 24 - München, DE - Olympiastadion München #
Jun 7 – Helsinki, FI – Helsinki Olympic Stadium #
Jun 14 - Copenhagen, DK – Telia Parken #
Jul 5 - Warszawa, PL - PGE Narodowy #
Jul 12 – Madrid, ES - Cívitas Metropolitano #
Aug 2 – Foxborough, MA – Gillette Stadium #
Aug 9 – Chicago, IL – Soldier Field #
Aug 16 – Minneapolis, MN – US Bank Stadium #
Aug 23 – Edmonton, CA- Commonwealth Stadium #
Aug 30 – Seattle, WA – Lumen Field Event Center #
Sep 20 – Mexico – Foro Sol #
Sep 27 – Mexico – Foro Sol #
# Supporting Metallica
Connect with Mammoth WVH at:
Website: www.mammothwvh.com
Facebook: https://www.facebook.com/MammothWV
Instagram: https://www.instagram.com/mammothwvh
Twitter: https://twitter.com/MammothWVH
YouTube: https://www.youtube.com/@MammothWVH
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Along with a demented Jim Root partscaster, the metalcore guitarists ride ESP warhorses into battle on a recent tour with elijah.
Philadelphia-raised metal guitarist Xander Raymond Charles has built himself quite a following on YouTube—his subscribers now number over 120,000. But when he’s not YouTubing, he’s playing live, and earlier this year, he went out on a national tour with metalcore artist elijah. Charles formed half of elijah’s brutal dual guitar section, along with Brandon Kyle. Ahead of a recent Nashville gig, the two shredders sat down with PG’s Chris Kies to share what they packed for the road trip.
Brought to you by D’Addario.
Rooting Around
Charles’ go-to metal machine is this Fender Jim Root partscaster with a 2014 Strat body and 2018 neck. He put in a pair of Root’s signature EMG Daemonum pickups, then pulled out the neck one out of “boredom” while on tour. He’s also replaced a lot of the factory hardware with odds and ends from Lowes or Home Depot. Like most of the duo’s guitars, the partscaster is tuned to drop C, and this one rocks a set of Nashville-made Stringjoy .012–.062 strings.
From the Bench to First String
Kyle’s main ride is this ESP LTD TE-401, which started its life as a backup but has graduated to be Kyle’s No. 1. It’s an affordable model from ESP’s line that Kyle maintains is one of the best-sounding guitars he’s ever played. He loves the playability and feel, which are similar to the Fenders he grew up playing. Obviously, the EMG pickups give it more gas than other T-styles.
Backup Warhorse
This single-humbucker, JM-style ESP LTD XJ-1 HT is another warhorse in Kyle’s stable and serves as a backup during elijah’s current set. It’s equipped with D’Addario XL .012–.056s.
Low and Long
This stunning Squier Vintage Modified Baritone Jazzmaster can handle all of Charles’ low-end demands with its 30" scale length.
Fresh from the Lab
Charles was gifted this 7-string Cerberus prototype, which is geared up with locking tuners, a single Guitarmory Pickups humbucker, and a 30" scale length.
Quad Power
Both Charles and Kyle are running Neural DSP Quad Cortexes, and after some testing, both decided to roll with a profile of an EVH 5150 loaded with EL34s. For clean sounds in the set, they lean on a Friedman profile. Sennheiser wireless systems let both guitarists cut loose onstage.
Shop Elijah's Rig
D'Addario XL Strings
EMG JR Daemonum Pickups
Stringjoy Strings
ESP LTD XJ-1 HT
Fishman Fluence Pickup
Neural DSP Quad Cortex
The Warg is a modern revamp of the Ace Tone “Fuzz Master” FM-3, designed to offer uniquely aggressive high-gain options.
"Despite its feral exterior, the Warg is refined under the hood, with several quality-of-life improvements, like silent soft true-bypass switching, top-mounted jacks, high-end German-made hardware and premium internal components."
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- Art by the talented Jordan from Pine-Box Customs
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Street price of $149.
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Evil Eye FX is a joint venture from childhood friends and bandmates Sean and Ben, building their brand around their love of DnD and other tabletop RPGs, video games and fantasy. In 2019, the pair began modding BOSS pedals to meet the needs of their band, and quickly fell in love with the craft. In 2023, they founded Evil Eye FX with the vision of providing unique handmade pedals at working musician-accessible prices.
Check out Jackson Brooksby’s look at the history of the FM-3 and demo of the Warg.
Our columnist makes an argument against the usefulness of tap tempo footswitches. Should we really be bothering with them?
The ability to tap in a tempo on pedals is a fairly new concept, especially compared to the amount of time that stompboxes have existed in our world. I would venture to guess that this is due in part to the availability of, and need for, digital ICs. Then, being able to code them and apply them to effects circuits appropriately.
Piece of cake! … If you’re good at baking cake. This process isn’t exactly easy to implement, but these days, I feel like some players are almost expecting this modern commodity—to the point where a great delay pedal might be overlooked due to not having tap tempo.
Setting aside the history and design applications, I’ve been pondering if tap tempo even makes sense or is achievable in a band context. For this thought experiment, I’d like to run through a few scenarios, while also shedding light on a few software/hardware aspects for you to consider. To put it plainly, “Why would you need tap tempo on a pedal?” The most compelling argument I’ve thought of is the “band” aspect: being part of a band where the rhythm section has laid down the tempo and you’d like to add delay to the song. Now, if you set the knobs on your delay pedal and started playing to that tempo, your bandmates could join along with your delay line acting as the group’s metronome. However, in this scenario, you didn’t start the tempo. That’s no problem! You’ve got a footswitch on your delay that allows you to tap your foot to the beat of the drummer and you’ll be all set! But will you?
Let’s assume, for argument’s sake, that the drummer is playing to a click track at 120 bpm. Your foot starts tapping along and you press that magical tap footswitch on your favorite delay three to six times. Boom! Now you’ve set the delay line to 120 bpm. But what are the chances that you tapped 120 exactly? Is it likely that you tapped in 122 bpm? Or 121.3 bpm? Absolutely. This discrepancy may not be very noticeable for a couple bars, but every subsequent bar you play will start to become more noticeable. So what do you do? You can keep tapping in the tempo to the best of your ability every few bars. Seems cumbersome given that you still have to play the guitar parts and focus on other things that are inherently involved in a band setting.
Pulling the curtain back for a second here, let’s call the part of the pedal that handles the tap tempo “the brain.” The brain of the delay sees you pressing the tap footswitch multiple times and processes this in a couple ways (that I’m aware of). One, it measures the distance between all the consecutive taps and spits out an average. Two, it takes the last two distances in the string of taps and makes that the bpm. That’s not even going into whether the brain is floating point (121.3 bpm) or fixed point (121.32 bpm).
“You’ve got a footswitch on your delay that allows you to tap your foot to the beat of the drummer and you’ll be all set! But will you?”
Your drummer is still waiting for you to get the tempo dialed in. So what can you try next? Well, if your delay pedal has an insert jack for tap tempo, we can try to connect something like the Disaster Area SMARTClock. The tap footswitch on it won’t help here. It’ll be the same as the bpm discrepancy we discussed previously. However, there’s an encoder knob that allows you to scroll through the output tempo in bpm or millisecond increments. Yes! Not all is lost! You just have to make sure to sync it up exactly on the downbeat of the tempo—crap!
Another more intricate and exact option would be to have the drummer’s click track send a MIDI signal to your SMARTClock that then connects to your delay. At this point, I’d change my question to, “Is this level of tap tempo necessary?” Perhaps if you’re the Edge and/or the song is predicated on the delay.
If you’re adding a lead part to a song and the delay isn’t exactly “on” with the bpm, I would argue that it can stand out better, be more easily heard, and be more interesting. I would also argue that an amplitude-style tremolo makes more sense to require exact bpm. I’m thinking about the Smiths’ “How Soon is Now?”
Tap-tempo options on modulation have been fun and we’re seeing more of it nowadays, but we’ve been playing and listening to the Phase 90 for decades without needing tap. Ultimately, if having certain options inspires you and brings you joy, go for it! Enjoy! But I’d ask you, “Did you actually tap in the correct bpm?” and “Did it matter?”Orianthi joins forces with Orange Amplification for her signature combo, the Oriverb, based on the classic Rockerverb MKIII 50 NEO Combo.
"Seeing this whole amp come to life has been a dream come true," said Orianthi, "it’s a beautiful amp and it really reflects my eccentric personality!"
The platinum-selling virtuoso guitarist has gained a reputation as a multi-faceted artist, singer, songwriter and first-call collaborator. With roots planted firmly in hard rock, her latest single "First Time Blues" featuring Joe Bonamassa and "Ghost" are a combination of blues-based riffs and memorable melodies. She is currently on tour in the USA and working on a new album to be announced soon.
The Oriverb, inspired by the Rockerverb 50 MKIII Combo Neo, is voiced to embody Orianthi’s unique sound. It has a cleaner mid-range warmth that reflects her classic blues and rock tone, whilst retaining all of its desired variable distortion.. A tweaked EQ gives the Oriverb creamy, sparkly cleans and saturated screaming overdrives.
Fitted with a pair of lightweight, British-made Celestion Neo Creamback speakers and EL34 valves, the Oriverb has that definitive British flavour with incredibly versatile tone shaping abilities. The new combo also boasts a much-loved footswitchable spring reverb, built-in attenuator for maxed out textures at neighbour-friendly volumes, switchable power options and a near-transparent, valve-driven effects loop. The cabinet is crafted using the highest quality 15mm Baltic birch plywood, making it one of the lightest 2 x 12” speaker cabinets on the market and is finished in an embossed white Tolex, selected by Orianthi.
"We created this to be something very special, unique, something that when people plug into it, whatever guitar they are gonna use through this, it is going to amplify their personality," explained Orianthi, "being able to bring something to life that I feel a lot of people are really going to enjoy has been a real honour. I am so proud of this amp and I can’t wait for people to check it out."
To find out more about the new Oriverb, plus all the other Orange Amplification
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