The End of All Things to Come is the second studio album by the American group Mudvayne. Released on November 19, 2002, the album expanded upon the sound of the band's debut, L.D. 50, with a more versatile range of sounds, dynamic, moods and vocalization.
The band wrote the album's songs in less than a month, drawing inspiration from their self-imposed isolation during the songwriting process, and crafted a more mature sound which drew from jazz and progressive rock influences, as well as elements of death and thrash metal. The album's strong sales led to it being certified Gold by the RIAA in 2003.
The album was recorded at Minnesota's Pachyderm Studios during 2002 with producer David Bottrill, who had previously produced albums for groups such as Tool and Silverchair. The band had very little time to make the album, in contrast to the recording of the band's previous album L.D. 50. Drummer Matt McDonough stated "We had all the time in the world to write our first album, but for the second one, we had about a month. I'm amazed how quickly we came up with the material." With the creation of the album's artwork, Mudvayne hoped to create the band's "black album".
During the album's songwriting process, the band intentionally isolated themselves for inspiration. The album expanded upon the sound of L.D. 50 with a wider range of riffs, tempos, moods and vocalization. Matt McDonough has described the songs on the album as "even weirder" than those on L.D. 50, and also believes the album is more mature.
The End of All Things to Come was certified Gold by the RIAA in 2003.
Positive reviews came from Entertainment Weekly, who deemed it to be more "user-friendly" than L.D. 50, and Launch.com, who said that "While the group attacks things with great velocity and singer Chud shreds his larynx at regular intervals, the always difficult follow-up album features actual melodies and mature textures that make the band's eventual transformation into a progressive rock band nearly inevitable."
The Daily News Journal also gave the album a positive review, writing "The End of All Things to Come captures Mudvayne at a time when the band has found its voice and is hitting its stride with confidence."
Mixed reviews came from Allmusic, which wrote that "The musicians still churn out standard-issue heavy metal thrash à la Metallica to support Chüd's nihilistic pronouncements, usually sung in an enraged howl"Blender, which wrote, "The End is rather ordinary--severe, belligerent riffs and vocals that sound as though singer Chud gargles molten lava" and Rolling Stone, which wrote, "Enjoy the band's extraterrestrial makeover; it's far more amusing than the music." A negative review appeared in Spin, which simply stated "No."