As far as the genre of doom-death metal goes, Daylight Dies are fast emerging as unflinching additions to the pantheon of greats. On Living, the band's 2008 full-length, they update the essence of forefathers My Dying Bride and Paradise Lost with a shimmering, translucent sheen. At turns heavy, at others heavenly, it is a vibrant and melancholy album fitting in with Katatonia, Opeth and Novembers Doom.

Opening with the somber clean guitar notes of "Cathedral," Daylight Dies immediately establishes Lost to the Livingas an album of moods. For starters, "Cathedral" is a sorrowful song mixing ghostly guitar melodies with caustic howls and powerful, mid-paced riffing. Switching between epic guitar solos to thunderous percussion workouts, it sports the perfect balance of art and aggression.

"A Portrait in White," meanwhile, spares no quarter with its assault of stomping metal and poignant swells of melody. Though undeniably graceful, Daylight Dies adds fury to the song many similar bands lack.

After this, "A Subtle Violence" earns its name by seamlessly fusing several conflicting atmospheres. A delicate string of notes winds its way through the song, providing a foundation for the brutal trudge of double bass and monstrously melodic riffs.

Less crushing is follow-up "And a Slow Surrender," an instrumental strolling through the quiet of night. Soft, silky and stark, its eventual eruption into soaring melodies is a moment of arena rock grandeur.

"At a Loss" ratchets up the intensity with a grim mix of dark, swirling guitar harmonies and driving rhythms. Sleek and pulverizing, it rains down fiery guitar glitters as comfortably as it churns gripping death metal riffs and low-end growls.

In contrast, the frail "Woke up Lost" sees the band indulging its quieter side. Faint notes drift in the air like fireflies, flickering briefly before fading under gusts of plodding doom metal. A choir of ethereal voices croons mournfully, producing a deliciously gloomy atmosphere. Though there are few words, it is one of the album's strongest moments.

"Descending" produces feelings of nostalgia and regret with its hypnotic drums and wavering guitars. A frantic moment of shredding pushes listeners deeper into the morass by generating a sense of urgency. Like a fleeting shadow, such brief violence is replaced with a soothing hum, ending the song on a tranquil note.

"Last Alone" proves equally peaceful. Painting twinkling washes of sound over an acoustic guitar, it gently floats out of speakers with heart-rending hope. Lovely and uplifting, it is a ballad worthy of Opeth.

Closing the album is the stately "The Morning Light," a song which weaves a tapestry of sound with hazy melodies and pounding riffs. In a neat trick, the song grows progressively softer as it moves forward, despite never losing its heavy edge. A subtle swerve on an album full of them, it is also a fantastic way of ending the disc.

Painstakingly crafted, Lost to the Livingis an elegant album adorned with an endless procession of stunning moments. Daylight Dies is nothing short of doom-death royalty and the world is their throne.