You know that feeling when a band you really dig release an album that exceeds your wildest expectations? That's just what DESTROYER OF LIGHT have done with "Mors Aeterna". The album releases on May 24th courtesy of purveyors of all things Doom, Argonauta Records. This new release is the follow up to 2018's EP release, "Hopeless" and 2017's full length "Chamber of Horrors". Both of those previous  releases entrenched DESTROYER OF LIGHT as one of my favorite bands in the genre. All too often though, a band draws you in with a couple of releases that really connect with you, and sets the standard  exceptionally high only to falter with their next effort. I'm really happy to report that isn't the case here. With "Mors Aeterna", DESTROYER OF LIGHT managed to not only maintain the standard, I'd argue they exceed it.

The release opens with "Overture Putrefactio" which sets our stage effectively as an intro piece utilizing organ and piano, in an almost funeral like method. While the usage of this type of instrumentation is not uncommon in the genre, it is a new weapon in the DESTROYER OF LIGHT arsenal, and  I for one found it welcome. Next up, the band ventures into territory they're most know for. With "Dissolution" and the first single, "Afterlife" the band launches into their signature blend of eerie doom coupled with classic metal sensibilities and melodies. "Afterlife" in particular showcases the band's abilities to rely on melody more than brutal force. As if to only reinforce this, the following track , "The Unknown" throws in some mystic and bewitching synthesizer, which is a new side of the band that we haven't seen before.

I should have mentioned early that the album is a conceptual release, detailing a man's demise and descent into the underworld. It's quite a journey so far, with even more doom, gloom, riffs and bold experimentation to follow. "Falling Star" sees the band return to familiar territory, with a stomping rhythm courtesy of Coffman and Turner while Colca and Kjeldsen trade off riffs and runs. The song churns along, a stormy ocean of dread only to still and settle, a calm ending remarkably represented by harmonious guitars. The album's tale continues with "Burning Darkness" as our subject realizes his fate. "I'm in hell!" Colca sings impassioned, and you believe it. The piano returns once again for "Pralaya's Hymn", and again I'm struck by the creativeness the band has mustered for their tale. It's a stripped down hollow usage, but very effective in setting the tone. "Loving the Void" does a banner job of capturing the spontaneity of the band's live shows. It encapsulates the band ever so briefly in an exploratory, psychedelic bubble that they seem reluctant to exit. Easily a favorite track for me.

"Into the Abyss" is the final interlude that leads to the albums memorable closer, "Eternal Death", which is a full on in your face, "fuck you" rager.  It's a heavy, heavy song, that ultimately shrugs away it's weight with the closing orchestration of violins and piano. "Mors Aeterna" is a bold maturation for DESTROYER OF LIGHT. It's a journey to a familiar destination, but one that uses a new and exciting path. The band seems re-invigorated, and on the cusp of some magical things with another strong contender for Doom album of the year. These guys are constantly on tour, do not miss an opportunity to catch them live. I guarantee you will not regret it.