Mammoth The End
Released Oct 24, 2025 BMG Rights Management (US) LLC
Early read 2 professional reviews Updated Feb 21, 2026
Mostly positive consensus
Early read based on 2 professional reviews. Mammoth's The End opens with brazen, guitar-driven momentum that leans into legacy and loud, anthemic rock while balancing moments of melody and optimism.
How ChoruScore worksCritics' Top Tracks
The songs critics returned to most
The End
2 critic mentions
“The title-track, with its eye-popping werewolf-and-zombie-themed video, puts all of this into an explosive little capsule” — Kerrang!
Happy
2 critic mentions
“nowhere is this combination of melody and light more evident than on Happy” — Kerrang!
One Of A Kind
2 critic mentions
“Opening this third album as Mammoth with a song called One Of A Kind seems unusually apt” — Kerrang!
Full critic consensus
Mammoth's The End opens with brazen, guitar-driven momentum that leans into legacy and loud, anthemic rock while balancing moments of melody and optimism. Critics note the title track “The End” and “Happy” as immediate standouts, songs that distill the record's muscular hooks and singalong choruses into compact, high-energy statements suited to live response.
Across two professional reviews the record earned a 65/100 consensus score, with critics praising the band’s musicianship, 90s rock influences, and deft guitar work even as they flagged occasional sameness in approach. Reviewers consistently highlight “One Of A Kind”, “Same Old Song” and “Selfish” as complementary moments where melody and soloing lift otherwise steady compositions; the critical consensus emphasizes big choruses, bouncy arrangements, and a willingness to shift mood from darker intensity to upbeat swagger.
While some critiques point to a lack of deeper surprises, the prevailing view frames The End as a celebration of anthemic songwriting and show-ready performance rather than a reinvention. For readers asking whether The End is good, professional reviews suggest it delivers memorable high points and strong hooks even if it stops short of fully expanding Mammoth's ambitions. Below are the full reviews and track-level takes for those deciding whether to dive into the record.
Track Ratings
How critics rated each track, relative to this album (0-100). Only tracks that made critics feel something are rated.
One Of A Kind
The End
Same Old Song
The Spell
I Really Wanna
Happy
Better Off
Something New
Selfish
All In Good Time
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What Critics Are Saying
Deep insights from 4 critics who reviewed this album
Di
Critic's Take
Mammoth returns with The End, a record defined by big, anthemic moments and relentless energy, where tracks like “One Of A Kind” and “The End” roar to life. The reviewer leans into the album's knack for bouncy compositions and singalong choruses, praising the guitar solos that bring songs together. There is praise for mood shifts too, from the darker intensity of “I Really Wanna” to the 90s-tinged sway of “Happy”, which keeps the record varied and engaging. Overall the best tracks on The End are those that marry charisma with big hooks, the ones that feel built for live response and repeated plays.
Key Points
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The best song stands out by combining anthemic choruses, infectious energy, and a fulfilling guitar solo.
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The album's core strengths are high energy rock songwriting, memorable hooks, and stylistic variety across moods.
Themes
Critic's Take
Wolfgang Van Halen wears the legacy, but on The End he mostly just lets the songs do the talking, and the best songs - notably “The End” and “Happy” - make that case plainly. The title track condenses the record's muscular, bright bravura into an explosive capsule, while “Happy” steps away from convention and lands another rich chorus. There is nothing downbeat about this big-hearted slab of song-making, and those two tracks best show why the album's melodies and light stick with you.
Key Points
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The best song, "Happy", showcases the album's melodic light and a rich chorus that departs from convention.
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The album's core strengths are muscular musicianship, buoyant melody, and Wolf's multi-instrumental ownership of the record.