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Aina Days Of Rising Doom - The Metal Opera album cover
3.26 | 43 ratings | 13 reviews | 14% 5 stars

Good, but non-essential

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Studio Album, released in 2003

Songs / Tracks Listing

CD I "Days Of Rising Doom" opera (68:21)
1. Aina Overture (Instrumental) (2:01)
2. Revelations (5:29)
3. Silver Maiden (5:00)
4. Flight Of Torek (5:21)
5. Naschtok Is Born (4:40)
6. The Beast Within (3:16)
7. The Siege Of Aina (6:50)
8. Talon's Last Hope (6:11)
9. Rape Of Oria (3:09)
10. Son Of Sorvahr (2:59)
11. Serendipity (4:04)
12. Lalae Amer (4:13)
13. Rebellion (4:01)
14. Oriana's Wrath (6:12)
15. Restoration (4:55)

CD II "The Story of Aina" (61:52)
1. The Story Of Aina (15:09)
2. The Beast Within (Single version) (3:44)
3. Ve Toura Sol - Rape Of Oria - (Ainae version) (3:05)
4. Flight Of Torek (Single version) (3:34)
5. Silver Maiden (Alternate version) (4:59)
6. Talon's Last Hope (Demo) (5:46)
7. The Siege Of Aina (Single version) (3:54)
8. The Story Of Aina (Instrumental) (15:08)
Bonus track on Japanese and South Korean CDs:
9. Oriana's Wrath (Alternate version) (6:13)

Total Time: 130:13

1. The Beast Within (Single Version: Music Video 3D Computer Animation)
2. The Making Of Aina
3. The Story Of Aina (Moving Story Board)
4. Slide Show
5. Artwork
6. Audio Settings
7. Credits

Line-up / Musicians

- Sascha Paeth / production & arrangments, guitars (4, 5, 6, 8, 10, 11), bass (6), organ (13), backing vocals (5)
- Robert Hunecke Rizzo / production & arrangements, piano (9, 12, 14), drums, guitars (all tracks except 3, 6, 11, 15), bass, keyboards (2, 5, 7, 8, 9, 15), backing vocals (4, 11)
- Amanda Somerville / story & lyrics, vocals (3,7,12), choirs
- Michael 'Miro' Rodenberg / arrangements, piano (14)

--- Instrumental ---
- Jens Johansson (ex-YNGWIE MALMSTEEN, STRATOVARIUS) / lead keyboards (2)
- Erno 'Emppu' Vuorinen (NIGHTWISH) / lead guitars (13)
- Thomas Youngblood (KAMELOT) / lead guitars (12)
- T.M. Stevens (STEVE VAI, TINA TURNER) / bass (10)
- Derek Sherinian (ex-DREAM THEATER, PLANET X) / lead keyboards (7)
- Erik Norlander (LANA LANE, ROCKET SCIENTISTS) / lead keyboards (13)
- Axel Naschke (GAMMA RAY) / organ (10)
- Olaf Reitmeier (VIRGO) / acoustic guitar (2, 11)

--- Cast / Vocals ---
- Sebastian Thomson / The Storyteller (2, 3)
- Glenn Hughes (DEEP PURPLE, BLACK SABBATH) / Talon (4, 7, 8, 13)
- Candice Night (BLACKMORE'S NIGHT) / Oria (7, 9)
- Tobias Sammet (EDGUY, AVANTASIA) / Narrator (4), backing vocals (13)
- Marko Hietala (TAROT, NIGHTWISH) / Syrius (14)
- Michael Kiske (ex-HELLOWEEN, SUPARED) / Narrator (2, 3, 11, 15)
- Olaf Hayer (LUCA TURILLI, DIONYSUS) / Baktuk (7)
- Damian Wilson (ex-THRESHOLD, AYREON) / King Taetius (2)
- Andre Matos (ex-ANGRA, SHAMAN) / Tyran (8)
- Thomas Rettke (ex-HEAVEN'S GATE) / Torek (4, 5, 6) & Sorvahr (6, 7, 10, 14)
- Simone Simons (EPICA) / Mezzo Soprano (15)
- Sass Jordan / Oriana (14)
- The Trinity School Boys Choir / Angelic Ainae Choir (2, 3, 7, 11, 15)
- David Swinson / The Trinity School Boys Choir conductor (2, 3, 7, 11, 15)
- Oliver Hartmann (EMPTY TREMOR, ex-AT VANCE) / choir vocals (as "The Prophets")
- Herbie Langhans (SEVENTH AVENUE) / choir vocals (as "The Prophets")
- Cinzia Hunecke Rizzo / backing vocals (7, 12)
- Rannveig Sif Sigurdard?ttir / soprano (7, 12, 14)
- Nicholas Westerman / vocals (11)

- Ann Shee / choir director (5 - 7, 10, 14)

Releases information

2CD+DVD Transmission Records / Frontiers #TME 040 (2003)

2CD Avalon MICP-90013 (2003, Japan, with 1 bonus track on CD 2)
2CD Ponycanyon Korea PCKD-20157 (2003, South Korea, with 1 bonus track on CD 2)

Thanks to ProgLucky for the addition
and to NotAProghead for the last updates
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Buy AINA Days Of Rising Doom - The Metal Opera Music

AINA Days Of Rising Doom - The Metal Opera ratings distribution

(43 ratings)
Essential: a masterpiece of progressive rock music(14%)
Excellent addition to any prog rock music collection(28%)
Good, but non-essential (33%)
Collectors/fans only (21%)
Poor. Only for completionists (5%)

AINA Days Of Rising Doom - The Metal Opera reviews

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Collaborators/Experts Reviews

Review by Clayreon
4 stars Yes, I know what you think, "not yet another Metal Opera." But this time it's different. It's a concept album with a very good story (if you like fantasy stories like The Lord Of The Rings) and the music is different from other metal operas, as there are a lot of symphonic arrangements on this record. It all started when the German producer, Sascha Paeth (RHAPSODY, KAMELOT, EPICA), got a call from Hans van Vuuren from Transmission Records with the request to make a metal opera. Sascha called the rest of the people you find in the credits above and the creation of AINA was on its way.

The album opens with a classical arrangement "Aina Overture" that alternates with a powermetal theme, by which you already hear that this is not an everyday Metal Opera. "Revelations" starts acoustic, with a very good vocal performance of Michael Kiske, who proves that he can do other things with his voice than we are used from him with HELLOWEEN. In this track you can also already admire the Trinity Schoolboys Choir, which adds a lot to several tracks, when they sing in the Ainea language. Yes, indeed, Amanda invented a special language for this album which adds up to the comparison with the Tolkien saga. This track has heavy and quiet moments, to end with a marvellous but too short performance by Damian Wilson. (And that's his only appearance on this album). In this track, you can also witness the speed and skill of STRATOVARIUS keyboard player Jens Johansson. Also the lyrics of Amanda are outstanding and the "maiden voice" she sings in "Silver Maiden" proves that writing lyrics isn't her only quality. Maybe this track tends a bit too much to a Disney sort of soundtrack.

"The Flight Of Torek" is a speed metal track which could have been an EDGUY or AVANTASIA track but what would you expect when specialist Tobias Sammet does the singing?

In "Naschtok Is Born", evil pops up for the first time and Thomas Rettke has the honour to help this with his voice. And Sascha Paeth is not only the producer and creator but also plays a brilliant guitar solo in this song.

"The Beast Within" is indeed the best choice as first single, but I doubt if it will enter the charts, because of its speed metal ingredients. Although the chorus is melodic enough to stay in your head after a few listenings. The grunt choir (don't be afraid, this is the only "not even real" grunt on this album) also doesn't add up to their chances to convince the mainstream public.

"The Siege Of Aina" is apparently to become the next single with a keyboard from Derek Sherinian. You also hear the first angel sounds of Candice Night at the end of this track.

"Talon's Last Hope" is a track that has a "Still Got The Blues" by Gary Moore feeling (especially the guitar in the beginning). The vocals are done by Glenn Hughes. Amanda said that Glenn sung the tracks in a totally different way as she intended, but that she liked them even more afterwards.

"Rape of Oria" is wonderfully sung by Candice Night and is preceded by piano and some noises that refer to the title of this track. (I wonder if Candice is making those noises too? ;-))

In "Son Of Sorvahr", T.M.Stevens gets a chance to show why he was bass player with Tina Turner and Steve Vai, amongst others.

"Serendipity" makes you wonder why Michael Kiske didn't sing more ballads in the past because his voice is made for this. Amanda gives a demonstration of her self made Ainea language in "Lalae Amr". (the translation is in the booklet). And then it's time for a duel between Emppu Vuorinen on guitar and Erik Norlander on keyboard in "Rebellion". I'll let you decide who won it.

For "Oriana's Wrath", a very strong rocking track with a lot of changes, they gave the role of Oriana to Canadian rock star Sass Jordan. Maybe Amanda didn't sound mean enough?

Quite the opposite can be said of the excellent soprano voice of Simone Simons of EPICA on the last track of this album.

That ends a brilliant album and don't forget I forgot to mention a lot of people. Maybe the most important of them all are the creators. One of the most important musicians of this album is certainly Robert Hunecke-Rizzo, who plays all the drums, guitars and bass when it's not otherwise mentioned in the booklet, and I have to say that's quite a lot. I also didn't mention Miro, who plays most of the keyboards.

And that's only the first disc. Don't forget, you get 3 discs, for almost the price of one. But don't get too excited, because disc 2 and 3 are actually extras and bonuses. Disc 2 contains single versions, demos, ainea versions and alternate versions of songs that are already on the first disc. (sometimes with other vocalists) Some are better, some aren't, but that's a matter of taste and that's up to you. The most interesting track on this second disc is "The Story Of Aina". It's a classical piece of music, with a symphonic orchestra, that gives you 15 minutes of wonderful music in which a lot of themes from AINA are used.

Disc 3 is the DVD section. First of all there's a 3D animated clip of "The Beast Within". I imagine it must have been a hell of a job to make this, but I don't really like it. The characters move in a "PC game" way. (you know what I mean: too static, too robotic). The most important part of the DVD is the documentary "The making of Aina" in which you can witness the recording and some interviews with the creators. The rest of the DVD are slides and pictures that are the same as in the booklet, so it's all a bit redundant.

But most important: disc 1 is a masterpiece and you should consider all the rest as bonuses you get for free.

>>> Review by: Danny (8,5/10) <<<

Review by Tristan Mulders
2 stars Aina - Days of rising Doom: The metal Opera

After already hearing quite a few metal concept albums before, I was somewhat curious whether or not Aina was equally good...

Sadly, it was a somewhat disappointing experience.

Although there are some good, progressive parts on this CD, most of it has already been done so many times before, leaving it to be sounding like a copy of the more successful metal opera's (I name but a few: the later AYREON albums and AVANTASIA: The Metal Opera by Edguy's TOBIAS SAMMET).

Yes, the guest list is a bit impressive; we have Glenn Hughes (DEEP PURPLE), Tobias Sammet (EDGUY, AVANTASIA, hey why didn't you stick to that one instead?), Damian Wilson (formerly of THRESHOLD, AYREON) and Simone Simons (EPICA). But a star list doesn't automatically mean that the album is great! As said, There are parts of genius (I did like the parts where the rhythmic section was jamming and a choir was singing on top of that, and of course the brilliant Aina Overture) but most isn't progressive at all, maybe it's better to call it regressive metal?

Overal an average metal album, that can entertain, but will not enlighten you!

Review by semismart
3 stars Hmmmmm, what do we have here? Isn't this something? This CD enclosure is actually a little book. Fancy, Fancy! I'll bet it cost the record companies a bundle. Let's see, 72 pages if you count the covers. Ahhh, here's the story of the rock opera. Brothers - two princes, love the same beautiful woman, Oria, she picks one, Talon, other brother, Torek, leaves in a huff, sets up shop as King in evil neighboring land, Naschtok, becomes an obsessive, vengeful King, attacks Aina, Captures Oria ......... Hummmph, kind of weak. I could have done better myself.

Okay, what other goodies are in here, some nice art work, song lyrics of the fifteen songs on disc one, a list of the songs on disc two, hmmmm, mostly repeats and a list of the features on the DVD, could be interesting. What else, ahhh, photos of "The Creators", Sascha Paeth, Robert Hunecke-Rizzo, Miro, Amanda Somerville (hot), I wonder why she was there? Oh, she wrote the corny story among other things, hmmmm never heard of them. Next is "The Voices", fifteen all totaled, then "the Choirs", "The Prophets", "The Guest Musicians" and or course the Credits and several pages on Behind the Scenes which looks like the story of how Aina, The Metal Opera, came about.

Boy, this container is something, wait til I show this to Jordan (he's my 21 yr old, wanna be actor son). Let's see how it looks in my CD case. Hmmmmm, it's too fat. I wonder if the record company realized that. Well, it is like a book maybe they thought it should go in a book case. Darn, it's too short. Looks like midget. Oh well, I can leave it on a coffee table. It would be a great conversation piece. I wonder if the music as good as this six star packaging?


It was supposed to be a monumental achievement. An epochal event in the annals of Rock/Metal Operas or any musical endeavor. It was supposed to compare favorably with the mega hit, blockbuster rock operas of the seventies. With a cast of dozens of big name musicians and singers it was bound to succeed. If I may paraphrase the immortal words of George Tenet, it should have been "a slam dunk"

Aina is a highly touted, long awaited production. It has, as a rule, been getting very positive reviews but I think some of those reviews were based on hype and expectations. I think, based on expectations, one could fool themselves into liking something more. I'm sure You and I have probably done it.

However, before I continue, let me straighten out a misconception I may have given you. Aina is not a piece of crap. It really is a pretty good album. That's why I gave it three stars. Some of you may listen to Aina and think whats his problem and give it five stars. So therefore let me explain my train of thought.

I'm not disappointed that it's not good. I'm disappointed that it's not better, that it's not fabulous, amazing, incomparable. The fact is, it doesn't truly match up to it's ostentatious packaging.(which, admittedly is a challenge) The trouble is, when what's inside doesn't match or exceed what's outside, it seems pretentious. Does that make sense?

Ok, now that you know that I think the packaging is top shelf, let's talk about the things that aren't. But first a little background on the project with some pertinent observations.

From what I can determine, Aina was the brainchild of an unnamed executive at Dutch record company, Transmission Records. Apparently this executive decided to engage well known producer/musician Sascha Paeth (to others, not me) to write, organize, produce and perform the Metal Opera of the ages. No expense was to be spared.

One should note that at one time Transmission Records had under contract the master of Metal Operas, Arjen Anthony Lucassen, a Dutchman who has perfected the art of producing Metal Operas and has seven successful operas under his belt with the eighth to be released shortly but now under the Inside Out label. I can't help but wonder if Lucassen's leaving precipitated this no holds barred project, a sort of see what you're missing to Lucassen.

Perhaps, if you couldn't have Lucassen, Sascha Paeth was a good choice. After all he did recruit several artists who had previously worked with Lucassen and the list of participants is impressive but I can't help but wonder about the method of creating this composition was a little backward. To me, it smacks of Hey let's create a Boy Band, we'll call them Backstreet Boys. Any idea who we can get? only substitute Rock/Metal Opera for boy band.

Call me old fashioned but it seems to me that the inspiration should be in the music not the idea. Shouldn't the artist get an epiphany and go into seclusion for two or three months like a prophet and return with an inspirational masterpiece? This is what Tchort did for Light of Days, Days of Darkness and it is sensational.

Now Paeth, who is well reputed as a producer having produced albums for Angra, Rhapsody, Epica and America's own Kamelot, did not have an epiphany. He did not even have an idea(it was somebody else's), he had an instruction, so he called in three assistants, his "Creators" for ideas. Their idea, which seems backward to me though I'm not a musician, was to write the lyrics first. Of course with an Opera you had to tell a story, so Amanda Sommerville wrote a story. Not great mind you but as good as many of the cheesy Power Metal stories. Then they collaborated on the lyrics and lastly the music. Under the circumstances it is a wonder the music turned out as good as it is.

Highlight Songs

"Aina Overature" a two minute intro Overture, nicely done but on a rock opera if you can't do a great intro, you better hang it up.

"Naschtok is Born", straight forward rock, but with a great guitar solo, courtesy of Robert Hunecke-Rizzo. Vocals are from the perspective of Torek, who is portrayed by Thomas Rettke (Heavens Gate)

"The Beast Within", is the last part of a little trilogy where Torek's alter ego Sorvahr is actually overtaking his former self. Musically this is once again Iron Maiden territory, with catchy choruses that strongly echo the work of Queen. This song is also chosen as a single release from the album.

"The Siege Of Aina", has a great build-up with two choirs portraying the two lands before the war. The evil Krakhôn, whose battle call sounds not unlike a Maori Haka, answered by an angelic boys' choir singing in Ainae language. These two different musical styles mesh extremely well, as they build up to another powerful rock song, with indeed a genuine metal feel and great orchestral arrangements and the musical- style choruses.

"Oriana's Wrath", here we're getting back in genuine rock opera mode, which more than echoes the massive finales of Jesus Christ Superstar and Hair - only heavier. Oriana's Warth is great stuff, really, with two separate choirs battling out the war.


To say that this production is merely ambitious does not do it justice. However, to say it succeeds is an overstatement. It succeeds on some levels but not overall. Am I impressed? Not really. Am I disappointed? A little. Could it be worse? Of course, It's actually pretty good. Could it have been better? You bet, I said pretty good, not magnificent. It is to a great masterpiece like the movie Dragonslayer is to The Lord of The Rings.

In all fairness my observations of Aina's music may have been slightly skewed because of my fondness for two less elaborate but truly wonderful Rock/Metal Operas, that I purchased in the last three or four months. They are Once and Future King by Gary Hughes and Missa Mercuria

Review by friso
3 stars Aina - Days of Rising Doom - The Metal Opera is an cd that leaves a strang feeling. It starts of so good and then it's finishes so bad. But I will discuss the album chronologic.

Aina has a lots of sounds. It has some metalriffs, it has symphonic arangements, powermetal, a fairytail-WaltDisney-ballad and some good vocals.

The first piece, Aina Overture is a good progressive beginning. One will get interested after hearing the complex pianoparts in combinations with the heavy guitars and the symphonic sound.

The next track is the first song Revelations. I wonder how many bands have calles I song Revelations, but OK... it's can happen. In the beginning we are treated with fairytail guitarprogression and a young boys choir. A good opening, very atmospheric! Then the song changes to a progressive orchestrated metalpiece. Nice vocals and I love the speed of this part. Then a finale is reserved for the ending of the track, some kind of opera part. A nice melody sung by a man with an great voice! Again, tasty!

Then the fairytail part began. A fully orchestrated track with the main character singing about his love for this girl. For fantasylovers this is the total experience. For people with sympathy for Walt Disney's lovetunes this might also be an enrichment of live. For me this is track that is a bit funny but I do get carried away with it. So what the heck? It works.

Flight of Torek. This song sounds like a progressive/powermetal anthem. Our favourite singer of all times Tobias Sammet (known from Avantasia and Edguy) sings this song. His influence is all over the place but it's a gentle happy metalsong with an progressive development in the chorus. I loved this stuff when I was 15 years old, now, 4 years later it somehow dissapoints me. It's music where one must get carried away or you will not understand. But overall a good song.

Naschtak is born. Our next step of the menu is a bit more angry song. The bad guy is introduced. It has a very nice guitar riff and the vocals are done very well. Also a strong chorus making this one of the better songs of the album.

The beast within. Another badguys song. Again a good song. Only the main lyric line is bit to simple, but it does serve the song. In the middle of the song we have an strange part, it sound like an a group of martial arts guys are practicing. Yet another good working piece of music.

The siege of Aina. The guitar part on the beginning is my favourite part of the record. It's has a strong vibe. Then the martialart guys again show up and female choir is introduced. What is going to happen now? Al pieces fall in the puzzl when the metal guitars are introduced and you get swapped away by the strong melody introduced. Realy fanatic! Again great vocals here!

Talons's Last Hope. This song is just simply boring. Only drums and a bass line and some vocals just don't entertain me in such a simple way. The song isn't very finished if you asked me. Then the Rape of Orea is a ballad sung by a Dutch lady Simone Simmons. Nice atmospheric fairytail ballad, recorded well.

Son of Sorvahr. A short ok metal song with some nice oldschool organs wich contribute to the overall vybe of this less serious song. Nice solo with a wah-amplified-guitar. Serendipity is another carried away song, this time based on a akoustic guitar progression. A lot of time must have been spent catching this atmosphere on type. Again a great exsample of a hate it or love it song.

Lalae Amer. This song is a eastern Europe influenced song for it sounds a bit Arabic. The vocals are in the style of this song. It actually sounds like it is an worldmusic recording. Little are the metal influences on this song, though the ending gives us some solo's so the song is complete. Well, it works. Rebellion starts of with an typical powermetal part but is actually pretty good. Nice speed, good vocals. Nothing left to say about this song.

Oriana's Wrath is a progmetal epic. More characters have their part. Nice choir arrangements have to compete with the great guitar en keyboard parts. I'm glad the powermetal drums were left for just a few songs like this giving it power without bringing overkill to the whole record. Impressive creation of music.

Then came Restoration. Our last thing on the menu begins with some psychedelic sounds. This, I like. But then a steady one chord slow metal part is introduced. Over this part a lot of themes of other songs are mixed. Together with Talon's Last Hope this is the least interesting song of the album. It's just sounds like a remix of someone who fellt bored. No real effort was put into this. They could have replace the steady one chord riff with guitars that supported the introduced themes. This makes te ending of the record bad. A pitty, cause most of the songs are good. A bad ending for an opera is the worst thing that can happen, it leaves me with an feeling of not being satisfied. Like the story wasn't finished. It's a Pitty. The record would have been better if they exclused Talons last hope and Restoration.

So a bit of an dissapointment in the end makes this a three stars album. It's good at it's moments, but sometimes it just doesn't work. For fantasy fanatics this is still a nice album to pic! You migh actually like it very much as I did in the beginning. The period before I listened to prog.

Review by SouthSideoftheSky
2 stars This beast is doomed!

Aina is listed here as being from the Netherlands, but given the large cast of musicians involved this project is truly multi-national. Still, the Dutch are well-known for their cheese, and Days Of Rising Doom is a large portion of Gouda. Not even Arjen Lucassen's Ayreon could match the cheese factor of this. This album has its moments, but also some that are hard to swallow.

I became interested in this "Metal Opera" after reading the list of people involved which includes some favourites of mine. Two brilliant keyboard players in Erik Norlander (Lana Lane, Rocket Scientists) and Jens Johansson (Yngwie Malmsteen's Rising Force) and the distinctive voice of Damian Wilson (Threshold, Rick Wakeman). Another distinctive voice is that of Glenn Hughes (Deep Purple, Black Sabbath). And they have Candice Night (the wife of Ritchie Blackmore) raped (she plays the role of Oria on The Rape Of Oria)!

The dominant style involved here is 80's flavoured Heavy Metal and Power Metal (not unlike Judas Priest's conceptual Nostradamus in parts). The album is conceptual in nature and there are Symphonic, Neo -Classical, and even some very discrete folky aspects, but the music is not particularly progressive.

Days Of Rising Doom is not all bad, but its primary audience is those with a special interest in conceptual and mildly progressive Metal. The average Prog fan need not bother.

Latest members reviews

4 stars "Rock opera" doesn't do it justice. Aina: Days of Rising Doom is so much more than a concept-based supergroup. Its story is sweeping, its orchestration is rich, its instrumentality is impeccable, its vocals are expressive and its composition is totally solid. While I'm not terribly familia ... (read more)

Report this review (#532803) | Posted by senor_velasco | Sunday, September 25, 2011 | Review Permanlink

4 stars A very interesting album indeed! Just the concept is interesting enough to get someone into it, as well as the number of singers and musicians who participated, who come from all over the world. The project is mostly associated with Rhapsody and Luca Turilli, but it has people from all over, many ... (read more)

Report this review (#221220) | Posted by HammerOfPink | Sunday, June 14, 2009 | Review Permanlink

2 stars Looking at this with the eyes of a power/progressive/symphonic metal fan, I must say that on paper Aina is one of the best things ever created by man. You have some pretty decent names from the realm of the above mentioned genres (especially power & symphonic) and overall you'd expect the producti ... (read more)

Report this review (#178492) | Posted by Koskinen | Wednesday, July 30, 2008 | Review Permanlink

5 stars I thought the skill for this piece of musical inspiration was on the higher side. they incorperated so much into this CD it was unbelievable. there's one song that starts with an arpeggio and it sounds awesome. Everything for this group of magnificent musicans was well thought out and well pro ... (read more)

Report this review (#65467) | Posted by | Thursday, January 19, 2006 | Review Permanlink

2 stars There's a lot of metal operas these days. Even the so-called 'gothic' bands, you name it... take some guitars, what keyboards, a grunter (typically a man), a soprano and off we go... In Holland we have the group Epica, who took the title of the last cd of the much- appraised Kamelot as their na ... (read more)

Report this review (#26992) | Posted by | Thursday, December 2, 2004 | Review Permanlink

5 stars Brilliant, absolutely brilliant. If I may advise the ones who buy this album: read the introduction in the booklet (with beautiful images) first, so you know what the story is about. Then put the cd in your player and let yourself drift off to another world. The story may be a cliche, but who ... (read more)

Report this review (#26988) | Posted by ---Progman--- | Tuesday, June 29, 2004 | Review Permanlink

4 stars I think this is definetly one of the best albums I've heard this year. It introduced me to the wonders of Metal Opera. I would reccomend it to any prog metal fan. The vocalists on the album are incredibly talented and put across the story of AinA brilliantly. ... (read more)

Report this review (#26985) | Posted by will | Friday, April 30, 2004 | Review Permanlink

5 stars This epic story and CD package is my pick for album of the year. I was astonished that a "Metal Opera" would have so many different genres on it. Aina, Days of Rising Doom will appeal to audiences from mainstream to progressive rock to heavy metal. The 64 page Digi-Book and the extra CD and DVD are ... (read more)

Report this review (#26984) | Posted by | Monday, January 26, 2004 | Review Permanlink

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