Customer Reviews

Formless

5 star:		(11)
4 star:		(0)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

For those who loved Aghora's self title, this disc is enough in the same vein of progressive, highly technical, jazz influenced, beautiful, progressive metal to demand your immediate purchase. If, however, you did NOT enjoy the first Aghora, or have not heard it, you must still give this a chance! Read on:

'Formless' has more appeal than the first disc to your average metal fan. The guitars are more in the forefront of the music; it is metal first and jazz etc. second. The riffs have plenty of crunch, the attack of the strings is satisfyingly heavy. The solos are gorgeous and ridiculously impressive - I'm pretty sure Dobles uses sweep-picking.

The rhythm guitar has enough time changes and complexity to interest Meshuggah fans, enough classic/thrash metal riffs and triplets to attract Iced Earth fans, enough progressive speed-metal influence to raise an eyebrow of a Symphony X fan, and enough melody and variation to catch the ear of an Opeth fan (but I'm not saying Aghora sound anything like these bands - there are only elements of similarity. So don't buy this expecting the sound one of your favorite bands - Aghora are unique).

Drums duties on this album are split between Giann Rubio and former drummer Sean Reinert. There is plenty of double bass, cymbal work, jazz-like snare work, and a healthy dose of nicely executed tom fills, with appropriate speed and precision. A very tight rythym section. Don't skip this album just because Sean Malone is not on it!

The vocals are stunning. I don't usually care for female vocals in my metal, but this vocalist is perfect for the job. Much less operatic than the former singer, Diana Serra adds to the music in subtly appropriate ways. She has a very full sound and makes great use of her vocal range. I don't find myself preferring instrumental sections the way I do in some other music with female vox.

In short, the songs are superbly crafted and stunningly cohesive. This album is genius - don't miss out!

Aghora's first album, along with Cynic's "Focus", was a fascinating and original release in the metal world- intelligent and extremely progressive metal featuring hauntingly beautiful female vocals, a philosophical and spiritual Buddhist lyrical ideology, and exotic and virtuosic guitar and percussion from some of the most avant-garde musicians in metal. Years have gone by, and suddenly a new release from Aghora arrives, far surpassing either of these former milestones in the progressive genre.

I really can't emphasize enough how fresh and original this album will be for any fan of prog rock/metal or progressive music in general. I have heard many amazing prog albums over the years, but this disc is just so unusual in so many ways that it really stands out in the crowd. A complex, flowing and seductive torrent of hypnotic and intricate middle eastern percussion, beautiful operatic vocals, sitar and flamenco-style guitar, heavy and progressive metal riffs and rhythms which overlap and morph constantly into something else. It's consistently engaging, original, and epic....a truly singular and beautiful experience that is not to be missed. Hats off to the band for such a well-produced and packaged self-released album....great production, artwork and packaging that is better than many major label releases I've seen. A rare example of unwavering artistic freedom.

If this music does not set you ablaze with excitement and simultaneously leave you paralyzed; in awe of its majesty - then you have quite possibly been numbed by the mainstream music industry. Open your eyes and ears - behold this work of art because 'Formless' is a masterpiece!

First of all, Santiago Dobles is a legend on the guitar and is also the musical genius/songwriter of Aghora. The style is very technical and atmospheric, yet quite varied in sound and technique. The album contains middle-eastern strings, jazz influence, spanish flamenco (courtesy of Rolando Grooscors), and a plethora of progressive metal riffs. In fact, minus the guest flamenco strings, all the guitar work on this album was performed by Dobles himself! While extremely progressive and innovative, the early thrash influence is evident and composed perfectly. The tone of the rhythm guitar is excellent, the solos are sweeping and melodic - sometimes almost euphoric, and the drumming is superb! The songs are beautifully unpredictable, blending different styles together in the same song, changing from mellow to heavy within the same breath, and full of rad time-signature changes.

Although the vocalist was trained in opera, the vocals on this album do not have a overpowering operatic feel at all - in fact, Diana's voice blends perfectly into the mood and flow of each song. Much of her singing is done on a lower scale than the vocalist who sang on Aghora's self-titled album, yet she fluctuates her voice quite frequently to accomodate the complexity of the instruments. On songs like 'Moksha' and 'Mahayana' she delivers a powerful middle-eastern style vocal arrangement.

Despite a compelling vocal perfomance by Diana, the majority of the album is done without her singing at all due to the long epic guitar solos and the brilliant instrumental composition entitled 'Dime' - 7 minutes of musical bliss! The production on this album is obviously better than its predecessor, thus creating a clean and balanced sound.

The name Aghora is supposedly a word from ancient Hindu beliefs that referred to fire or light - the band Aghora is like a bright light shining on the sometimes dim and boring music scene, illuminating those who will come out of darkness and into the brilliant light of Aghora.

RECOMMENDATION: Support the band and buy this album from the band website, you can also order the self-titled album from there too.

Hell Ya!! That's what I can tell you. It has been years since Aghora released their debut album and when I heard it, that was it for me. i fell madly in love with Aghora. Went out to get their limited edition with footage from the studio during the recording of the album. I was just so thrilled to play it over and over and over and over and over again. Never got bored because it is "Progressive" in every sense of the word. Every musicians who performed in that album was superb!! So news came about that Aghora was to released their 2nd album called Formless like 2 years ago. I kept waiting and waiting, I don't really know what happened it just never see the light of day until now in Dec 2006. I ordered it thru the band's web site and before I know it it was right in my mail box. I was totally blown away with thie release topping their debut in every aspect. Phew!! again I played in over and over and over and over again. The sound, composition, technical skills and overall feel of Formless is just astonishing. The only weakness I feel is that the vocals could be a little bit more powerful and stronger in her range. I am well aware that she is not a rock or metal singer but I really do appreciate her contribution to this extraordinary album. Other than that everything is incredible!! Prepare yourself for an assault. Get your copy today!

It has been six years since Aghora released their eponymous debut. It seemed whenever Formless was about to come out, something else got in the band's way, and with numerous line-up changes, including the replacement of original singer Danishta Rivero with Diana Serra, the band have finally completed their sophomore album Formless, which, in many ways, matches (or even surpasses) the brilliance of their first effort.

It is true that original bassist Sean Malone of Cynic and Gordian Knot fame does not appear on this disc. Without doubt, Malone was the reason why so many fans, including myself, discovered Aghora, but worry not, new member Alan Goldstein has done a phenomenal job on this record. He plays both fretted and fretless bass, and is featured in some of the most key moments on the album. On "Atmas Heave", a piece filled with crushing riffage, there is a great slap bass section to complement the crunch of the double bass drumming. Santiago Dobles' guitar playing is insanely wicked, particularly his sweep picking and unusual chord progressions. Likewise, Goldstein totally shines on "Dual Alchemy", a song that allows him to lay down a killer fretless solo following a busy yet equally melodic guitar solo. Dina Serra's vocal melody is infectiously catchy whilst Sean Reinert recalls his days in Death with those incessant kick drums. I just love the vast, spacious Middle Eastern elements this track is decorated with.

Aghora's approach to the vocals have taken a completely new turn. The vocal tracking (done by none other than the great Neil Kernon) is simply awe-inspiring. Serra is a very young talent, and they've made great use of effects this time around, with cool layerings and dual harmonies happening in the background. She steals the show during the most unexpected moments, such as the slightly Tool-like "Open Close the Book", thanks to Sean Reinert's perfect sense of timing, where she inserts huge choruses into the otherwise complex number. Dobles experiments with a plethora of guitar sounds and concludes with yet another killer solo (that sweep picking at the end is gorgeous). However, Serra's finest moment on the album is the dazzling "Skinned", which also features some lyrics from the former vocalist. This is one of their most diverse cuts, as the band plows through a Latin-flavoured guitar theme to another superb bass lead and climaxes with more Tool-inspired riffery where Serra sounds like a female version of Maynard Keenan (which is a great thing), but that's where the similarities end, as Santiago Dobles feeds the song with innumerable threads of elements: his vibrato tone is terrific as is the curious ending of the song.

The drumming duties have been split between former drummer Sean Reinert and new member Giann Rubio whose relatively more aggressive style serves as a catalyst on the heavier (yes they even get heavier!) pieces. On "Dime", as the title suggests, dedicated to Dimebag Darrell of whom Santiago Dobles was a fan, Rubio proves integral, supporting Dobles' liquidy guitar work and jamming along with him. The style of Dimebag totally comes through in Dobles' solo after the clean ostinato melodies and it's truly moving. As a matter of fact, there are lots of subtle homage moments on this album, from John Maclaughlin on the opening track "Lotus" to others including Jason Becker, Nuno Bettencourt, Eddie Van Halen, and Allan Holdsworth among others. Some of these seem like note-for-note sections paying homage to his inspirations whilst some others are more indirect, but they add a lot to the sonic depth of the album.

Special mention goes to "1316", whose 13/16 time signature in the main riff is stunning. The band is tight as a machine here, much like Meshuggah or perhaps To-Mera (another great band with a female singer). This song is a study in the duality of society at large, and it also seems to have a political subject matter giving off an anti-Bush air. Sean Reinert's clever snare drums are enough to remind why I consider him an all-time favourite. Last but not least, I have to mention the title track, with its 12-plus-minute running time. This song consists of so many nuances, each equally rewarding on repeat listens, sweet percussion work (by Dobles himself), and an incredibly touching, goosebump-inducing lead solo - perhaps Santiago Dobles' finest in his career. It gives me shivers when I play this tune cause it's so easy to get into it. His majestic clean tone experimentations, unorthodox stop-start moments, and swift, unusually plaintive guitar expressions are simply in a league all their own. Yes this guy has his influences, but he sounds like none of them, and that's why he is going to be a much revered player in the future.

Aghora's debut easily stood the test of time garnering lots of repeat plays from their fans. Time will determine how Formless will do, but to me, it's not hard to foresee it will eventually top its predecessor and become all the more rewarding. By the way, the packaging of this disc is excellent. It's a nice digipack with a nice booklet in it. Please do not pirate self-released records. These artists deserve all the support they can get, which is the only way they can carry on putting out music. I got my CD directly from the band - you could do the same. They're all very down-to-earth and friendly guys to say the least.

This album has been a long time in the making, and whether out of nostalgia, compassion, or simple lack of willpower, I had originally given it a rating/review that now, after more time spent with the music contained therein, seems undeserved.

The most horrible thing that befell this band since the release of their debut has unquestionably been the loss of Sean Malone. If there was ever a band to be used as a reference in the question of "how important is a bass player?", Aghora is it. Malone's departure has drained the life out of this band and distilled their sound into a typical, bareboned display of "progressive" metal.

Expectedly, the band's focus seems to have shifted entirely. With Alan Goldstein being unable to maintain a sufficiently prominent bass presence, the album has effectively become the Santiago Dobles show. He's a mighty guitar player for sure - he shreds, sweeps, thrashes, and harmonizes his way through these songs with a great display of skill - but all of it comes off as inconsequential because there's rarely anything to be found behind it. The guitars overpower everything in the mix, and no longer do the other band members seem to have any desire to step up and contribute in anything but the most predictable of ways. As a result, the "heavy" portions of a given song generally consist of a typical thrash riff backed by trite double bass runs that sound completely sterile and indiscernible from the thrash riffs and double bass runs that dominate other songs throughout the album. The most blatant examples of this can be found in songs like "Atma's Heave", "Open Close the Book", "Dual Alchemy", "Dime", and "Mahayana". "Atma's Heave" sounds like a really cool song the first time you hear, and it is... but as you make your way through the album (time and time again), you can't help but question how often a band can expect to rehash the same idea and expect their audience to not notice. The spacier and dreamier aspects of Aghora's music have also been reigned in to an extent and watered down in lieu of a more thoroughly metallic presentation. I attribute this completely to the loss of Malone and the reduced role of drummer Sean Reinert - the two of them are nigh unmatched in filling an otherwise typical song with pulsing dynamics and that mystical feeling of something "more" going on in the music than just the music itself. Sean Reinert is able to carry that pathos on some of the tracks he plays on, but one player alone cannot be enough.

That being said, many of the instrumental passages are a step up on account of sheer showmanship. The guitar solos are wonderful, and many of the melodies and harmonies sound amazing, with Dobles showing off a wide range of influences in the school of guitar. Though again, this turns into more of a downfall because there is a lack of balance. Goldstein follows the guitars almost note for note, only occasionally breaking for some slap or fretless interludes (both of which are nice, but rare), and Giann Rubio drums in a very regimented, mechanical style that lacks variety and fails to mesh with Goldstein's bass playing in any notable manner. In the end, you're left with Santiago Dobles trying to keep your attention with guitar heroics, and it doesn't always work.

So what's good?

Sean Reinert is still here - thank your god of choice - drumming on 6 out of 13 tracks. In my eyes, he is the sole factor that keeps this album from degenerating into a soulless husk of self-absorbed metal. His style is limber and organic, serving to infuse life into an otherwise dull atmosphere; his sense of synergy and dynamics keeps the music from grating on the ears; and his cymbal work is as elegant and fluid as ever, providing a free-flowing sense of progression. The drum kits themselves are also something to note - Reinert's sounds warm, full and lush; while Rubio's is more mechanized, if you will... his snare almost sounds triggered when compared to Reinert's - you wouldn't be far off if you said that the kits are reflections of the players who utilize them.

Unfortunately, even Sean Reinert isn't always able to save the music on this disc. Some of the tracks he plays on, such as "Open Close the Book" and "Dual Alchemy", come out so boring and pointless that they may as well have used a drum machine. On the other hand, he absolutely makes my two favorite songs on here, "1316" and "Fade" - the former sounding something like a long lost Cynic track, and the latter coming the closest to resembling the majestic beauty of the first Aghora album.

In Rubio's favor, he isn't all bad. His performance on the 12+ minute title track is nice, and it's right behind "1316" and "Fade" as far as the songs on this album that don't completely suck.

The vocals... meh. Diana Serra isn't any better or worse than Danishta Rivero. She's different, and I'd say it's ultimately going to come down to personal preference. The vocals here don't extend as far as they did on Aghora's S/T, and there's nothing here to rival the wonderful vocal harmonies found on songs like "Kali Yuga" and "Existence"... Diana is more straightforward and immediately appealing, which I suppose will appeal to many people who aren't into high-reaching vocal extension. I saw a line drawn to Marcela Bovio (Elfonia, Stream of Passion, Ayreon), and I think I agree - pretty, soothing, and pleasant... but not much that strikes out and really grabs you.

Overall, my impression of this album has only gotten worse with time. The more I listened, the more I felt an urge stirring deep within to come back here and edit my review to something more appropriate - and here I am. "Atma's Heave", "1316", "Fade", and "Formless" are all clear winners as far as individual songs go, but the album as a whole sort of falls flat.

After almost seven years, they could've put a bit more thought into it.

Great band, great album, especially for someone who enjoys progressive rock. Very few if any other bands out there that sound like this band Aghora. A must for any fan of music!

Hey Flunk! I grew up in Berthoud. Small freakin' world.

I found Aghora's first album because of Sean Reinert, who I was amazed by on Cynic's Focus and Death's Human albums in the early 90's. Despite the unfinished feel and mediocre sound quality, it was a groundbreaking effort in my opinion, of melodic and HEAVY music.

I wouldn't say that Formless is without its faults (hell, nothing is perfect), but it is a great sophomore effort. It has it all, and I like it more with each listen. It is heavy as an anvil, complex as the best prog, and the vocals are much more polished this time around. I definitely miss Sean Malone on bass, but the new guy does a helluva job.

Great album.

If you liked their self-titled debut album, then you will most likely love "Formless". This is Aghora in all their glory, their musical idea fully realized. Of course, their next album may prove that statement wrong! But for now, this makes their debut sound like a good sketch of their style, whereas "Formless" is the finished piece.

Everything about this album is better. The vocals, the writing, the structure. Well, almost everything. How could you not miss having Sean Malone on bass? Regardless, the result is fantastic. Highly recommended.

This is so much more interesting record than their debut. Although Sean Malone is no longer playing here, new replacement (Alan Goldstein) on fretless is giving great results. New girl on vocals - wow, she made such a great job here (plus she's also a co-writer of the lyrics). I can say that this is a beautiful mixture of aggressive riffs and charming voice plus progressive beat and virtuoso solos. Plus a taste of Hindu in the lyrics. Sean Reinert - excellent form (not formless, thanks God :)
Absolutely a must for Cynic, late Death and Canvas Solaris (turns out that last.fm recommendations are 100% accurate in my case again). You won't be disappointed with this record, I listen to it more than new Metallica's and Cynic's CD. It has a strength, beauty and great drive, forcing you to return to it. If you have Aghora's CD from 99 and like it, buy it without any hesitation - you'll love this one!