MORGUILIATH was born in the south of France by Rats in 2004, offering multiple concerts and performances. The new album "Occult Sins, New Unholy Dimension" follows the path of the band and respects the ethics of Black Metal 80/90's, associating Thrash/Black Metal riffs without forgetting an unhealthy and abysmal atmosphere. Their sophomore album here contains eight tracks. The title track leads off the album. It's a short mood-setting instrumental. The mood is dark and brooding, and echoes with mystery. "Pass Away" begins with overly-treble laden guitars and some purposeful poor production. The Black Metal sound enters in full bore. Vile vocals combine with screeching guitars and some lower end mischief.

"Blåck Peårl" opens slower and with a bit more gloom. From there, the wall of sound ensues. The screams are relentless. At times, the guitars venture out a bit, but not to the point where it creates anything overly interesting. "Ad Mortem Festinamus" begins with solemn clean guitar tones that turn angry with the addition of distorted guitars. The band is able to pull some power out of these songs, but when the riffs are as traditional as they are, don't expect much in the way of diversity. Spoken word comes in with some clean guitars for a few bars, but the harsher sound continues quickly thereafter.

"Aborted Inquisition" opens with a slower and more horrid groove. It moves forward from their with more commanding presence as well as more despondence, having elements of both hatred and despair. Towards the end, the sound drops to clean tones, and gently fades away. "Venom and Vomit" begins with some softer and more mysterious tones, but you know the chaos is coming. A long scream ensues. A loosely structured sound appears from there, but the constant guitar presence along with the vocal screams lingers in your ears. "Gloria" opens with clean and solemn tones, like a creature hiding in the darkness as an unsuspecting victim passes by, and then pounces. Clean tones mix in, dark and moody. Gathering steam for a final push, it finishes with a deadly touch.

"Ghouls Sphere" closes the album. The evil is dialed up in this slow moving song with descending notes that lead all the way to hell. I would characterize this album as a FWOBM album, staying completely true to the sounds that bore the beginnings of the genre. Unfortunately, there is little variation from these formulas and thus, another re-hashing of a style that has been done, and re-done, ad nauseam.