“Succoria, at last it’s mine.”
As the metalcore community continues to revel in its mid-2000s revival renaissance, the list of up-and-coming nostalgia-driven acts continues to grow with no immediate signs of decline. While this movement is predominantly associated with the United States and the United Kingdom, other countries such as Sweden and Australia have borne witness to metalcore’s bygone, ancient glory as new acts continue to crop up around the globe. Returning to the once-lauded genre’s roots on such a large scale feels like an appropriate course correction, as modern contemporaries such as PRESIDENT and Dayseeker seem content with conflating metalcore with bargain-brand electro-pop rock, much to the fatigue and general frustration of those who have remained loyal to the scene since its mainline inception over two decades ago.
‘Metalcore’ means something entirely different nowadays. It no longer resembles a compound of melodic death metal and hardcore so much as it does a slightly heavier strain of alternative metal. As such, a classical resurgence indubitably evokes a feeling of rejuvenation among many, myself included. However, even as my own personal preferences have always leaned towards the melodeath-inspired compositions of metalcore’s progenitors, I remain apprehensive about a newfound appreciation for the sound. It’s important to remember why it fell to the wayside, as much like the squeaky-clean hook-laden alternative metalcore sound that dominates the streaming algorithms of today, it too became saturated and tiresome after years of overlapping ideas between groups.
Fortunately, there exists new blood that seeks to enhance the sound with fresh ideas rather than simply rehashing the same template. And while certain individuals who fancy themselves gatekeepers of the scene will no doubt be dismayed, it’s a comfort to know we aren’t simply repeating the same mistakes that damaged metalcore’s reputation at the turn of the decade in the early 2010s.
Balmora are a young group of mid-2000s metalcore cultists who have been rapidly accruing a reputation among the US revival scene; a band I spoke about briefly a few years back with their 2024 demo entitled Prologue. While undoubtedly a solid affair, it was one that was so brief and impermanent, it called into question whether Balmora would ever reach the momentum necessary for a breakout release. Since then, however, the original vocalist has parted ways with the band, and the replacement’s former band, a group that actually shared a split EP with the former, has called it a day. A lot has happened in a remarkably short time period, and I couldn’t help but wonder if Balmora might rest on their laurels and plan a swift exit.
To my surprise, Balmora have endured their hardships head-on, and, dispelling any doubts I might’ve had about the project’s future longevity, they’ve prepared a thirteen-track debut LP. Indeed, These Graven Halls is decorated with all the bells and whistles of a project that is far beyond any and all ambition I thought this group might’ve had left. Gothic synths, sweeping, melodic guitar passages, and an otherwise cinematic yet haunting atmosphere paint Balmora almost as the spiritual metalcore equivalent of Children of Bodom. Tracks like “Ammonite” and “Ophelia” are ambitious undertakings that perfectly capture the metalcore spirit whilst invigorating it with Gothic, Castlevania-esque vibes that are simply cool. Clean guitar passages on cuts such as the latter and “Needles & Rags” further enhance the melodic metalcore palette that Balmora have consistently displayed proficiency with.
Amidst all of this nuance, however, Balmora remain just as mosh-friendly as you remember them. “Inheritance & Solitude” and “Moon Light Hysteria” are chock-full of arm-swinging, spin-kicking breakdowns that are sure to cause mayhem in the pit. Many of the album’s heavier cuts also feature prominent metalcore peers like the newly acclaimed I Promised the World, showing that Balmora have stayed in touch with the scene. “Timor Mortis” is another standout with its penultimate positioning in the track list and the longest runtime to boot. This one features some of Balmora‘s boldest and flashiest guitar work to date, straddling the line between metalcore and the patronymic melodic death metal.
While “Timor Mortis” could have, and perhaps should have acted as a reasonably strong closer for These Graven Halls, “NGV” is the ultimate final track, and it is most definitely misplaced in the context of this record, or any metalcore record for that matter. The song finds itself somewhere in the middle of a genre salad comprised of various strands of hip-hop and lo-fi that have no business existing, much less concluding, on a record whose precedent was established half an hour ago. Amongst a record that is otherwise bordering on flawless, “NGV” is a notable misstep. At the very least, its position at the very end of the record makes it a convenient skip.
Regardless, These Graven Halls is a triumph for Balmora. Not only does it reinforce previously explored ideas, but it adds so much more, and while more may not always be better, Balmora have done so with a meticulousness that ensures the band’s already established identity is not lost in the process. These Graven Halls is another great addition to Balmora’s growing catalogue, and an even better first impression at a debut full-length.
