REVIEW: Balmora - These Graven Halls [2026]

Artist: Balmora
Album: These Graven Halls

These Graven Halls is a bit of a wildcard when it comes to metalcore. If you take a quick read through Balmora’s statement on the record, a lot of different names and titles will jump out at you—The Black Dahlia Murder’s Unhallowed, Silent Hill, Philip Glass, Bladee, Requiem for a Dream—the list goes on. If I’m being blunt, a lot of it doesn’t really feel like it would work, and plainly, it still feels hard to reconcile On Broken Wings and Funny Games into a cohesive experience, but despite that, These Graven Halls definitely gets its point across. The debut full length from one of metalcore’s rising stars, These Graven Halls is a riff-driven, 808-laden colossus of a record that utilizes its impressive 45 minute plus runtime to drench the listener in everything from a frenetic salvo of fretwork to somber, sullen atmosphere.

These Graven Halls is a seminal course in brazen instrumentation and harsh, blistering vocal prowess. The former is instantly evident on “Ammonite,” flashy flourishes across the fretboard in tandem with Goliath chugs and punchy percussion to welcome the listener into what they can expect across the near-hour of towering metalcore that awaits them. The robust “Timor Mortis” is another such track where Balmora’s instrumentation shines. Percussionist Chaz Torok works diligently behind the kit, hammering away with everything from snappy, technically savvy fills to morose, steadily plodding double kick patterns, while guitarists Collin Flynn and Jay Torblaa riff away. As it so happens, just about every track throughout These Graven Halls is home to at least one moment where the listener stands to be impressed with Flynn and Torblaa, especially in those moments on “Timor Mortis” and “Inheritance and Solitude” where they seem to lean heavily into the record’s Unhallowed influence. The latter is especially evident—as low rumbling bass from Danny Cuneo is rivaled by riveting grooves from Flynn and Torblaa atop a firmament of pummeling blast beats from Torok.

Paul Cole’s contributions to Balmora also shouldn’t be understated. His vocal presence throughout “The Beautiful Writing” and “Needles & Rags” are an immense testament to his skill and his ability to work seamlessly with the robust soundscape provided by the band’s strong instrumentalists. Meanwhile, “Ophelia” sees him work beautifully alongside Holder’s Brie Percy. His raw mid-range yell excels throughout “Ammonite,” while his rumbling lower registers adds to the ominous overtones that make “Timor Mortis” a stand-out track. While he may not be among the genre’s most diverse vocalists, he works fluidly and reliably with the varied instrumentation that defines the journey These Graven Halls takes the listener on, leaving little in the way of want.

With all this said, Balmora’s long-awaited debut full length offering isn’t without its missteps. My first several listens through the record had me almost positive it would be a nigh-unstoppable album of the year contender, but as the record settled over the numerous listens that followed, the luster of certain moments throughout the release became mildly dulled by elements of monotony and questionable pacing. With a one-two punch as strong as “Ammonite” and “Ophelia,” the momentum falls off considerably following a brief interlude, only to ramp up immediately with “The Beautiful Writing.” This pattern seems to persist—with interludes that are placed sensibly on paper but in practicality detract from These Graven Halls’ flow. Perhaps the worst offender of this is the closing track, “NGV,” which seems like it might have made a better hidden bonus song than a true closing number, especially as “Timor Mortis” stands ironclad as not only an outstanding song, but a song that simply makes sense as an album closer. This isn’t to say that “NGV” is bad—It just doesn’t seem to make a lot of sense in the context of These Graven Halls’ entirety.

Ultimately, These Graven Halls is a fun record that packs a lot of energy, excitement and hype from end to end. While many of the songs throughout the release hold strong to the test of double-digit play-throughs, some of them waver, and ultimately undercut the replayability of an otherwise engaging release. This, coupled with some odd pacing and flow choices make These Graven Halls a strong record, but also one that can be improved upon.

7.5/10
For Fans Of: Azshara, The Black Dahlia Murder, A Mourning Star, On Broken Wings
By: Connor Welsh