Mammoth – The End
4 out of 5 stars

By J.C. Correa

After storming onto the rock scene a mere four years ago – and less than a full year since the death of his legendary father Edward Van Halen – Wolfgang Van Halen, under his artist moniker Mammoth (initially Mammoth WVH), returns with The End, his third full-length album. Pleasantly lean and compact, with a running time of under 40 minutes that leaves little room for filler, while in turn displaying a musical evolution that is quite apparent, it is his best offering so far. 

Van Halen once again has teamed with producer Michael “Elvis” Baskette, with whom he worked on both 2021’s Mammoth WVH and 2023’s Mammoth II. And just like he did on those records, he has leaned into his gifts as a talented multi-instrumentalist to record all of the musical components of his new album. Though the one-man-band approach is perhaps now expected of him as an artist, it is in no way a compromise, but rather, a galvanizing spectacle that only contributes positively to the quality of his output while confidently cementing his brand.

No number better exemplifies the dexterity of his talents than the LP’s title track, which is also its lead single. Opening with a high-pitched guitar tapping intro – the kind which clearly runs in the blood – the tune soon embraces an alternate tapping phrase as its main riff, and it is a terrific one that propels everything forward, and from which the song derives its energy. Equally great slap-bass fills complement this, just before a power-chord-heavy chorus allows things to breathe. The solo that adorns the tune, while in the same vein, is smart enough to not overdo it or extend its welcome, correctly serving to support the number without drawing attention to itself. Fans are probably quite familiar with “The End” by now from its lively and comical music video, which dropped several months ago. It was directed by Robert Rodriguez, who in turn did a variation on his own 1995 hit From Dusk Till Dawn for it.

The production throughout the album is bright and vibrant, with a bass guitar that is usually heavily distorted. Similar to Mammoth’s previous work, it shows that Van Halen is good at writing vocal hooks and catchy melodies. But there is also a more mature musicality and sophistication that is not as present in earlier recordings. Part of this has to do with the purposeful structure of the tracks that, as a general rule, waste no time in extended verses by making the arrival to the chorus a priority. The inventive and forthright arrangements are clearly the result of the reported, improvisational approach to the songwriting and construction of the demos.

Some of the prevalent styles and sounds throughout the record occasionally recall ‘90s funk-rock outfit Extreme, and tunes like “I Really Wanna” highlight this both sonically and through its humorous spirit, which line up with that band’s early hit “Get the Funk Out.” The similarities, intentional or not, would likely be well received by the members of that group, particularly by its virtuoso guitarist Nuno Bettencourt (an admitted disciple of Eddie Van Halen) and its singer Gary Cherone, who himself had a brief, late ‘90s stint in the actual Van Halen band. 

Elsewhere, “The Spell” blends a late ‘80s hard rock guitar style with a late ‘90s vocal vibe. Two of the best grooves are found on “Better Off” and “Same Old Song,” and both also accentuate the strength of Van Halen’s singing voice. The latter, with its defiant lyric, features a really cool and unexpected middle eight, followed by a bluesy guitar solo. Whereas right before the solo on “Better Off,” Van Halen employs a rhythm tone that is eerily similar to that of his late father. Both numbers are standouts on the record.

A good example of the efficient songwriting craft and clever production is the track “Something New.” In spite of a lyric that is a little corny and basic about not being happy where you are, the tune forgoes a guitar solo and instead features a very short, analog-sounding instrumental break. This works extremely well because the effect directly recalls the song’s opening moments, which are practically identical, and brings things full circle.

The LP’s opener, “One Of A Kind,” features a lick that is straight out of The Beatles’ “Here Comes the Sun,” just before the crunching guitars kick in. Its catchy chorus connects more strongly than its verse or bridge, and even though the song’s middle eight is silly to the point of almost being embarrassing, the tune shifts to an unexpected coda that is clever and interesting, if a bit sonically self-indulgent near the end. 

Much more effective is album closer “All In Good Time,” which features endearingly honest lyrics like, “I never dreamed that I would get this far / So many homes have come and gone / I fear that I’ll be left behind.” They serve as the portrait of an artist at a personal and professional crossroad. Such a predicament can often produce exciting creative results. With The End, Mammoth has done just that.

Mammoth’s The End is set for release on October 24, 2025.