Review Summary: By Mudvaynes' standards, it is immediately apparent once this album starts to set in, that Mudvayne has begun to dig a hole, and bury themselves in mediocrity and music as plain and deserted as the desert.
Mudvayne had set the perfect tone for their success with their debut trophy 'L.D. 50'. But nevertheless, like all bands, they start to think too hard about where to go next. The epiphany of Mudvaynes' success derives from the fact that they let their content flow easily and surely from the canvas they wrote it on, to the stage. But in 'The End of All Things to Come', they abandon the true form of their success, and replace it ultimately as a less gratifying conclusion to this trend.
Where Mudvayne experimented with sonic intonations, and wrapping guitar riffs, and a very unique bass style, the majority of these traits seems invalid in this work. While the bass style is somewhat present here, the stage is still left, for the most part, empty of these attributes that made Mudvayne the 'had to own' metal premiere at the turn of the century.
However, Mudvayne is not all lost in this battle. They do maintain simple and basic writing styles that do compliment the album nicely, such as the first track 'Silenced" which opens with a pretty unique guitar feature, then goes to head banging riffs with a good vocal method. 'Trapped in the Wake of a Dream' is another good example of Mudvaynes' reserved success they still hold in L.D. 50 inspirations. Good riffs, sustaining vocals, and an excellent bass. But unfortunately for the men of Mudvayne, the album starts to just recycle boring content. It's actually okay to start with, and the album supports itself in a variety of ways despite having the same sound repeated over and over again until no excitement is left to remain interested. All's well until the fourth or fifth track when the riffs become boring, and the vocals lose their hype. Represented in a substantial curve of repetition, is the albums' unrealistic turn of events that in all reality, don't ever end until two and a half albums later. A simplistic influence has overtaken Mudvayne, the grip is held tightly, and the group relentlessly continues on a voyage that illustrates nothing more than a big circle. Being at the very edge of a cliff, Mudvayne is forced to abandon ship, and go without anymore inspiration until this album is finished.
Mudvayne has at this point, abandoned ship, and swam in different directions to achieve their once, grand appointment known as 'L.D. 50'. Bass still exists, but guitar doesn’t, vocals become inconsistent and boring, and drums go average. Otherwise, a decent find to Mudvayne to get for you if you are a hardcore fan, but is anything but expected the legacy of L.D. 50 that is all but ancient history as far as they are concerned, as implied in this album. The opaque concept for this album will remain as so, until the required aspects to resurrect Mudvayne from this pit, is once again seen, hopefully in the future. But by Mudvaynes' standards, it is immediately apparent once this album starts to set in, that Mudvayne has begun to dig a hole, and bury themselves in mediocrity and music as plain and deserted as the desert.
