Largely self-recorded on an old four track tape machine in the basement of Everettt's Los Angeles home, the "end times" he writes about isn't "Mayan calendar conspiracy theory bulls***," says Everett, but, "the state of the desperate times we live in. The bottom line-ness of it all."

While Hombre Lobo was written from the point of view of a fictional character (namely, the Dog Faced Boy of EELS' 2001 album Souljacker), End Times is purely real life as Everett sees it: a "divorce album" with a modern twist. He equates his personal loss with the world he lives in losing its integrity. This isn't Everett's first break-up record. His 1993 solo effort, Broken Toy Shop, chronicled the broken heart of a young man in his twenties. End Times focuses on the loss of a middle-aged man growing as an artist. The loss has more weight.

As for the timing of the release, "I felt guilty about the long gap between the last two albums so I'm making up for lost time," Everett says. The longest gap between EELS albums (four years between the 2005 release Blinking Lights and Other Revelations and the 2009 Hombre Lobo) is being followed by the shortest (six months between Hombre Lobo and End Times).