SPILL ALBUM REVIEW: MAMMOTH – THE END

MAMMOTH
THE END
BMG

Since the 2023 release of Mammoth II, the Wolfgang Van Halen-led project has toured the world, sharing the stages with the likes of Metallica, Pantera, and Foo Fighters. The band has now returned with The End, which once again impressively sees Wolfgang Van Halen write and record the album entirely by himself. Additionally, The End follows a trio of singles, and the first release to officially drop the WVH moniker from the band’s name.

The End opens with the momentous build-up that is “One Of A Kind,” a track propelled by a jarring left turn following an atmospheric harmonic intro that takes a nosedive into one of the album’s most driving numbers. Highly reminiscent of Foo Fighters, “One Of A Kind” is an anthemic song that develops in arrangement, as well as intensity, with each passing segment, as Van Halen flexes his prowess as both a songwriter and performer. With singles such as the title track, “The Spell,” and “I Really Wanna,” we see a slightly meaner sound coming from Wolfgang Van Halen, a side that is certainly welcomed, adding a level of grit to the otherwise polished production. This is perhaps best heard on “I Really Wanna,” a track that leans hard into a shuffle feel with an absolute ripper of a riff and a monstrous tone. It must also be noted that “I Really Wanna” also features a jaw-dropping guitar solo that sees Van Halen play with his father’s tapping technique, reviving it for a modern context.

Throughout the album’s 10 tracks, Wolfgang Van Halen continues to prove his worth as a rock ‘n’ roll superstar for our generation. At the heart of The End is a virtuosic level of musicianship where Wolfgang Van Halen demonstrates himself as a highly impressive force across all instruments. The End feels especially primed for radio, with each song serving as a potential single. While the songwriting remains firmly within the same vein of his previous work, this record feels like a step up in some regards. In addition to the singles, highlights include the melancholic grunge of “Happy” and the riffy “Same Old Song.”

There is a power behind The End, an album that soars for Van Halen’s virtuosity and solid songwriting. Each song feels expertly crafted and honed to showcase a range of hooks, sprawling arrangements, and choruses that feel like anthems designed to be blasted on both radio and in arenas alike. In light of this, and despite a slightly darker and more aggressive energy on this album, The End continues to feel a bit sanitized. It’s as if the LP was designed to succeed within the active rock radio and festival context. There is no denying that Wolfgang Van Halen is exceptional at what he does. However, I long to see him direct his musicianship toward experimental territory, or perhaps even forego the active rock ‘n’ roll format for something far heavier and introspective. There is no doubt that The End is a good album, but it does not reinvent the status quo established on Mammoth’s first two records.

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