Review by John
The Shores At Dawn by Maelstrom: A Crushing Dive Into Darkness
Alright, let’s talk about The Shores At Dawn, the 2010 release from UK-based metal outfit Maelstrom. This album is like a sonic punch to the gut—equal parts heavy, haunting, and kinda beautiful in its chaos. If you’re into doom, death, black metal, or even post-rock vibes, this record has something for ya. It’s not perfect, but damn if it doesn’t leave an impression.
First off, can we just appreciate how wild this mix of genres is? Doom Metal colliding with Prog Rock? Black Metal flirting with Post Rock atmospheres? That’s a recipe for either disaster or brilliance. Luckily, Maelstrom pulls it off more often than not. The band’s got some serious talent behind them too—Wull Hay on lead vocals brings that raw intensity, while Jaime Cross layers on eerie keyboards and effects that make everything feel otherworldly. Oh, and Scott Simpson’s backing vocals add this extra depth that sneaks up on you when you least expect it.
Now, onto the tracks. Two songs really stuck with me after spinning this album a few times: “Legacy of a Burning Throne” (yeah, they spelled "Burning" three different ways in the tracklist—what gives?) and “At Dawn, They Die.”
“Legacy of a Burning Throne” feels like a journey through fire and ash. The riffs are slow and crushing, like tectonic plates shifting under your feet. Steven Grenfell’s guitar work here is absolutely killer—it’s melodic without being soft, brutal without losing its soul. And Wull’s vocals? Dude sounds possessed, like he’s channeling some ancient force. There’s also this moment halfway through where the music drops out completely, leaving only Jaime’s keys and these unsettling ambient noises. Feels like standing alone in a burned-out forest at night. Creepy as hell, but so good.
Then there’s “At Dawn, They Die,” which might be my favorite cut on the album. This one starts quiet, almost peaceful, before exploding into this chaotic whirlwind of blast beats and shrieking guitars. Donnie Temple on drums deserves all the credit here—he keeps things tight even when everything else feels like it’s falling apart. The song builds and builds until it becomes this overwhelming wall of sound that just swallows you whole. When it finally fades back into silence, you’re left breathless. Like…what just happened?
One thing I gotta mention is how inconsistent the production feels. Some parts sound crystal clear, while others are buried under layers of fuzz. But honestly? That kinda works for this type of music. It adds to the raw, unpolished vibe. You wouldn’t want perfection in an album like this anyway—it’d ruin the mood.
So yeah, The Shores At Dawn isn’t gonna appeal to everyone. If you’re looking for catchy hooks or radio-friendly tunes, look elsewhere. But if you dig music that challenges you, that makes you feel uneasy yet oddly satisfied, then give this one a shot. Plus, how many albums have you heard lately that blend five different subgenres AND manage to keep your attention?
Oh, and here’s a random thought to end on: listening to this album feels like staring at the ocean during a storm. Beautiful, terrifying, and kinda hypnotic all at once. Now go crank it loud enough to annoy your neighbors.
