Review Summary: Mudvayne take the road mostly traveled, but it gets them home safely.
We can all agree on one thing: Mudvayne’s debut album is the best of all things to come out of their catalogue. Think back to your first times: passing your driving test, your first time dating someone, or even being able to live by yourself for the first time. It felt fresh, exhilarating, and different from any experience before the present. That's Mudvayne’s debut masterpiece, ‘L.D. 50’. Look back at those memories; it still gives positive vibes doesn't it? Fast forward a couple of years, and the sophomore record comes out. It clings onto its past like an old military veteran. It's not a bad idea, but it prevents them from a chance of truly evolving their signature sound.
Technicality is the common denominator for the musicians of Mudvayne. Anyone who says these guys lack any sort of skill in their role is an idiot. Rhythm section runs the show. Bass is heard, unique, and thought out thoroughly. Try playing a cover of ‘Silenced’ on your bass. The average joe would not get past the opening seconds. There is a mix of masterful playing techniques used to conquer the low end. From fast finger plucks, to funky slap n’ pop bass. The man can do it all! Drums are at a similar competence. Very high tempo, but not unnecessarily flashy. There are creative beats scattered everywhere, keeping the signature metal sound. These two guys are definitely the better aspects of this band, especially when it's the vocals and guitars that usually get most attention.
Converting to said guitar and vocals, the ground they hold is strong. Vocally, the album turns the tone down a notch. Becoming a little less heavy and more melodic, less screaming and more clear, sung lines is the prominent focus. Despite this, don't expect a collection of pop jingles; this is still a metal album. On top of a unique voice, they are accompanied with above average, intelligent lyric approach, mostly open to interpretation with no obvious, simple message. Guitars act more like a rhythm player more than the lead. Simple palm-muted riffs and power chords sum up this segment. Standing out is not the case here, but it still sounds good.
Recommend hits include ‘Silenced’, ‘Trapped in the Wake of a Dream’ , ‘Not Falling’, the title track, and ‘World So Cold’. In fact, the latter most mentioned track is the best example of the progression from ‘L.D. 50’ to ‘The End of All Things to Come’. On the former noted album, the pace was mostly fast, frantic and chaotic; with no pit stops needed. On this record, one of the stronger numbers is something that could be called a “heavy ballad”, also known as ‘World So Cold’; a slower, gentle composition.
A score of three or three and a half is a realistic rating for ‘The End of All Things to Come’. Mudvayne relied on previous maneuvers to reach the finish line. That's ok, since the previous album was near perfect to begin with. Unfortunately, it's near impossible to overtake perfection. They must have thought the same, since the final product seems a bit tamer and bottled up instead of being as open and content compared to their debut, ‘L.D. 50’. In result, this is an inferior version of the debut. Instead of pulling straight into the steep chicane, Mudvayne end up understeering into the safer direction to their destination. Sometimes that's ok; it's better than getting lost and not found.
