Carpe Diem

Well, it took long enough for this review to be made, and somewhat begrudgingly too. I've wanted to review this album for a long time, and now's the perfect time to do it. As of December 2019, this album will officially be 10 years old. A decade will have gone by since the release of Heavenly's "Carpe Diem" and the reasoning for no new content since 2009 is very disappointing to say the least.

That being said, after years of on and off listens, let's get down to why this album is much more a disappointment than triumphant.

Starting with the elephant in the room here is the theme of the album. The band themselves said they were taking this album to have a viewpoint about the pleasures of life and enjoying life to the fullest hence the album name "Carpe Diem", which in essence only means sex from the album's emphasis. The sexual themes in the album's songs and the ridiculously raunchy album artwork just do not mix well at all with the music being played (this is discussed more elaborately further down). For example "Lost in Your Eyes" is a pretty decent track by itself that shows what the band is capable of right from the get-go with modern production and sound. What murders it to a bloody pulp worse than Negan beating Glenn to death is the music video attached to the song and the realization that "Eyes" actually means "tits". Thankfully though the sexual theme only pertains in about three songs and isn't much of a nuisance going forward.

On the plus side however, instrumentally I can compliment this album in saying that it's spectacularly glammy just like any power metal fan would want. Lapauze and Corbiaux do an amazing job with their guitar work, almost as if "Virus" just kept going and never stopped. If anything it feels like they've only been honing their skills since the last album, and it really shows here. The talent these two could make together in another project not headed by Ben Sotto would definitely be an interesting sight to see. The Japanese edition of this album holds a bonus track called "Playtime" that even further showcases how badass these two are and how great of a highlight the guitars are here. However that's the thing though sadly, the guitars are disappointingly the primary and only highlight of this album.

As mentioned earlier the production on this album is quite well done and very enjoyable from an instrumental standpoint when done correctly; Strong emphasis on the "done correctly" part though. There are many moments on the album where, to be honest, the mixing just fucking sucks. I can't think of a better example than "The Face of Truth" because of the horrifically overwhelming keyboards. It makes me think "Yes Ben, I understand you love the way the keys sound, but does it have to dominate the entire track?". I can barely hear the guitars or vocals in certain tracks due to this issue. I'm fully aware that melodics are a big thing in power metal, but in situations like "The Face of Truth" it can be taken way overboard, even worse than Twilight Force overboard. Another thing of note is throughout most of the album, the bass is almost nowhere to be heard except in "Lost in Your Eyes" and "Fullmoon" - where it's notably louder.

Drums for Heavenly have never been the same since founding member Maxence Pilo left the band after "Dust to Dust" in 2004. Despite his disappearance though the comeback with "Virus" was very strong and proved that Thomas Das Neves as a drummer was a badass at what he did, and kept the heartbeat of Heavenly going strong, up until "Carpe Diem" when Pierre-Emmanuel "Piwee" Desfray entered the scene. The drums are said to be the heart of the band as it keeps the rhythm and tempo going of each song, and what was once an 11 or 12/10 in terms of force in the album sadly drops to a 5 or 6 for most of the album. Piwee's drumming does not keep the spirit of Heavenly that's carried since 1999 alive like it used to, and it's, as much as I hate to say it, lackluster. I will say however that there are times when he pushes himself past the limit and takes it to a new level with songs like "Ashen Paradise" and "Ode to Joy" being perfect examples of this. Specifically in the solo sections of "Ashen Paradise" and "Save Our Souls" as well are where he flows with the guitars almost flawlessly, and it's quite nice to listen to.

Now I gotta address the biggest flaw of the album. Ben Sotto. I'll be straight up in saying that Ben Sotto in my eyes is bar-none when it comes to how talented he is both vocally and as a composer for Heavenly, I fricken love this guy. His efforts on all of Heavenly's previous albums were fantastic and "Dust to Dust" will always be his greatest work in composing. The most amazing thing is that he throws away all that effort on "Carpe Diem" in the songwriting / composing aspect. Vocally he sounds great despite the rumor he shredded his vocals recording "Virus", but the songwriting is, well, garbage. His whole theme about carpe diem and seizing the day is all bullshit in the long run because the album's focus was taken the opposite direction it should have gone, not to mention the broken English and recycled lyrical tropes that Ben always uses are very much prominent (i.e. "sail the seven seas", "carry on my way", etc.). The album presents two different lyrical directions it could have gone - one is that it would focus on improving ourselves for a better tomorrow and Ben's dream of a legendary "brave new world" would happen if we take care of the earth like it's taken care of us; The other direction, the one it ended up taking, was the idea that "seizing the day" means having sexual relations with a female is the goal. Literally the first few songs represent one night stands besides the awkwardly placed "Farewell", and the album artwork presented is no help to this issue either. The best written song however that I've understood through multiple listens is "Save Our Souls". The lyrical concept, the composition, and the awesome guest vocals of Oliver Hartmann of At Vance featured on this album is what Heavenly should have done all along with this crapper of an album. It showcases the best of what they can do right now as a band, and unfortunately that's the only time they'll ever do it that well up until now.

I've been a long time fan of Heavenly for years now, and the opus that is "Carpe Diem" is far from being Heavenly's finest and is by far their most lackluster work - even more lackluster than "Sign of the Winner". The idea this album tried to accomplish failed miserably and - I hate to say this - was a mistake that Heavenly would never recover from. Since the release of this album they have only done a few shows here and there in France + have not been vocal about the direction the band is taking. It breaks my heart as a fan to see that Heavenly most likely won't be returning after this album, and for the last 10 years they've been only teasing new material, despite nothing new coming out. With the disappointment that this album is, there are a few things that are preventing me from giving it a 10% - The highlight (or best) tracks, the production of the album, and the effort put into it before the band called it quits. Your mileage may vary for this album, but as a diehard fan I found this a major letdown and very low in replay value.

Highlights / best tracks: "Fullmoon", "Ashen Paradise", and "Save Our Souls"

One of France’s power metal exports, Heavenly, have returned to deliver their 5th full-length CD entitled ‘Carpe Diem’ (meaning “seize the day”). The boys from Paris have come along well since their beginnings and with the help of their previous 2 releases, have become fairly popular.

Heavenly are one of those metal bands that you can easily recognize, mostly due to the almost falsetto style vocals of Ben Sotto. The band’s debut, ‘Coming from the Sky’, was quite well done, getting help along the way with Iron Savior’s Piet Sielck and Gamma Ray’s Kai Hansen performing guest vocals while other members of Iron Savior also pitched in. 2001’s ‘Sign of the Winner’ was an improvement over the debut with the band becoming heavier and much faster. One deterrent, however, has been the extremely high-pitched vocals of Sotto, which at times can be bearable but others can be too high-pitched and over the top.

2004’s ‘Dust to Dust’ and the most recent ‘Virus’ (2007) were both excellent CDs and received high acclaim. The band “toughened up” so to speak, adding some much needed aggression while the tracks became more polished and well constructed and the falsetto vocals of Sotto were restricted, but not gone. Building up a large fan base, anticipation was high for the band’s next release. Well, that time is now as Heavenly’s new CD is here through AFM Records after the band recorded one CD with XIII BIS Records/Sony-BMG and the previous 3 with Noise Records.

Expecting ‘Carpe Diem’ to be something similar to ‘Virus’, I was surprised that upon my initial spins of the CD that this was not exactly the case. The aggression that was present on the previous 2 releases had notably dropped away while the speed of some of the tracks had become slower. Heavenly has always had that “flowery” tag over their head because of the vocal style of Ben Sotto, but they had worked hard recently to try and dissolve that. Unfortunately ‘Carpe Diem’ sees a return of that cheesy, flowery high-pitched style which (in my opinion) has been the only thing stopping this band from being one of the best in their genre. Not only that, but now certain tracks contain choirs of high-pitched singing, used predominantly in the choruses. I must say that some of the time these choirs work well with the songs, but in other times they are just really annoying.

The use of the keyboards in Heavenly’s sound, which is one of their strengths, is still a highlight on ‘Carpe Diem’, while the amazing and soaring solos which Heavenly are renown for; churned out by Charley Corbiaux and Olivier Lapauze, remain in place and is another highlight on the CD. Aggression on the release however has been toned down, while the tracks are now much more melodic, like a cross between mid-paced Stratovarius, Power Quest and Rhapsody of Fire. ‘Carpe Diem’ is a frustrating CD to listen to, because on one side you have the great riffs, sweet melodies, creative songwriting, and ripping solos, yet on the other you have the way over the top singing and experimental sound and structures in a few tracks where the band tries to sound like Queen (check out the tracks “Farewell” and “A Better Me”) and overall a lack of grunt, aggression, and especially direction. I say this because when you listen to the whole CD, it is so difficult to work out ultimately what they are trying to do as the tracks (despite most of them being quite good) are very sporadic and just all over the place.

‘Carpe Diem’, despite the frenzied and uncontainable feel, still has some very good tracks, the best 2 being “Ashen Paradise” and “The Face of Truth”. “Ashen Paradise” contains furious speed, tons of energy and melody, and a ball-busting sol while Sotto sings at decent level that isn’t somewhere up in the high stratosphere. “The Face of Truth” is a slower, mid-paced track, but with a harder and rough feel particularly with the main riff while the keys are outstanding, adding to the emotion of the track. These two great songs are what the fans of Heavenly have come to expect of the band in recent times. It’s what we’ve known to hear and love, but unfortunately the remainder of the CD does not reach the same brilliant levels as these two songs. And that is where this release unfortunately falters. Other songs on the CD which are also quite good and thankfully saves this release from being a total disappointment include the powerful yet melodic title track “Carpe Diem”, the bombastic “Full Moon” and the very cheesy and corny, but also catchy “Lost in Your Eyes”.

Overall I feel that ‘Carpe Diem’ is a small step backwards in terms of quality, especially when compared to the previous 2 Heavenly releases. I feel that Heavenly have gradually evolved into what they wanted to become with their sound and I believe they had the right balance of consistency on the 'Virus' CD. The band had the chance to make that big step into the power metal echelons with ‘Carpe Diem’, but have not done so with that they have produced here. Although it is a decent release, ‘Carpe Diem’ is a tale of 2 halves. One half contains some very good tracks while the other half is quite average. Heavenly and power/melodic metal fans should still enjoy this, however be prepared to be slightly let down. This band may not have taken the bull by the horns with this CD, but in the process they have created a new metal genre – Bohemian Rhapsody Metal.

Originally reviewed for www.metalcdratings.com and www.themetalforge.com

The French power metal band Heavenly has been around for awhile. However, they have largely been under the radar since their inception back in 1994. With fellow countrymen Fairyland taking the lead in that country’s power metal scene, Heavenly is behind in terms of recognition in their own country. Now, with a new album in Carpe Diem, Heavenly is ready to do just as the album title implies: seize the day, and with some luck, gain some recognition in the process.

Even before the music begins, the listener will likely take a peek at the album cover for Carpe Diem, which should at the very least arouse some curiosity. Getting to the music, it begins with the title track, which is a good start, aside from around the 4:07 mark, when it goes into a few seconds of the “half-powered amp” mode. It is on the ballad “Farewell” that things get a little over the top, with vocalist Benjamin Sotto trying to hit the high notes to fairly modest success, and the music trying its Queen impression, and falling short. Granted, Heavenly does have some talent, but on this song, it just doesn’t work as well as it does when they do things a little more straightforwardly. Thankfully, they get back to the metal with “Fullmoon,” where Sotto doesn’t strain to hit the highest notes. The group singing on the album can sound over the top at times, but it also adds a grand feel to the album. “A Better Me” is actually a fun little song that combines the style of ballad that they should have tried on “Farewell” and the epic sound from their usual fare into something that works well. That momentum seems to carry Heavenly forward, as the next track “Ashen Paradise” ratchets up the epic factor, with more spot-on group singing and guitar solos that display the band’s musicianship. The real highlight of the album is “Ode to Joy,” which is the band at their very best in terms of grandiosity and musicianship. However, at the end of the album, the question that will likely be asked is, “What just happened?” because for all of the flash on the album, there just simply isn’t enough substance to truly get into the album after two or three listens. Sotto’s vocals are good when they are closer to normal range, but when he tries to hit the highest notes, as is most evident on “Farewell,” the results can be pretty disastrous.

Overall, Carpe Diem is what you would expect from a power metal band, complete with their over the top moments. There are some rather uneven moments from Heavenly, as the first half seems kind of okay, while the second half of the album actually shines. Carpe Diem is not for those who seek immediate gratification or those who just simply cannot get into power metal. Patience is definitely something to have in bunches if one is to get into the new Heavenly album.

Originally posted on http://www.metalpsalter.com

The natural reaction to a change in direction by a band, be it merely lyrical or in terms of their entire sound and style, is usually greeted as a disaster in a nuclear power plant by their audience. Sometimes this sort of reaction is understandable, and at others it gets blown entirely out of proportion, which is where “Carpe Diem” falls. It isn’t really so much a large departure for Heavenly in terms of sound or style, as was the case with Edguy’s last few offerings, but more of a reboot of the band’s lyrical pursuits. If the Luis Royo inspired album cover isn’t an obvious indicator, let us just say that the band has taken the route of the Heavy Metal hedonist, rather than that of the heathen or the political commentator.

Musically speaking, the only place where “Carpe Diem” really differs from the past couple of albums is in a reshuffling of priorities amongst their existing formula. The heavier and somewhat groovier approach to riffing that appeared on “Virus” with the addition of Oliver Lapauze is maintained, as is the general formula of large sounding choruses and catchy lead work, but the emphasis of this album is much more geared towards keyboard and vocal work, to the point of sounding like Avantasia’s second installment of “The Metal Opera” mixed with the continuing presence of Gamma Ray, which has influenced their sound since the band’s inception.

The question that naturally follows all of this is, how do these changes come out in practice? The answer is, mostly good, but this falls a little bit short of past efforts. Although there is a lot of experimentation in style and more emphasis placed on elements that were more secondary to the band’s sound, this album is pretty safe and takes very few risks in the overall songwriting department. The towering epics of “Dust To Dust” are nowhere to be found here, though the Meatloaf meets Avantasia power ballad “A Better Me” does evolve nicely and mixes that classic blend of power piano and chorus majesty with a solid mid-tempo Speed Metal riff. It mostly follows the more cut back approach of “Virus”, but with an even greater emphasis on symmetry and fewer surprising changeups.

This is really one of those albums that you can pull out and enjoy, but don’t quite obsess over the way you would a definitive classic. Be it the latest homage to “Out In The Fields” with keyboards at full swing in “Lost In Your Eyes”, the catchy and moderately progressive grower in “Fullmoon”, or the Neo-classical Helloween styled anthem “Ode To Joy”, it is all enjoyable and loaded with the same winning stylistic trappings that have made this band an intricate alternative to straightforward mainstays such as Freedom Call and Hammerfall. But the real glory of this band tends to get reserved for their full blown speed fests, and “Ashen Paradise” succeeds in a rather unique fashion by merging the “Painkiller” elements of “Virus” with the pomp and circumstance of their most memorable speed anthems of “Fight For Deliverance” and “Liberty”.

Heavenly hasn’t stepped in it yet as a band, in spite of some drastic lineup shifts, but ultimately they do seem to be tapering off a bit, as can be seen on some of the weaker moments on this album such as the dry sounding album closer “Save Our Souls” and the way too mushy balladry of “Farewell” which makes Angra’s reinterpretation of “Wuthering Heights” sound manly. This often tends to be the consequence of attention seeking, and that’s the only way to really explain the album cover and the lyrical shift towards the more mainstream happy subject matter of lusty aesthetics. It is something of a mixed bag, but it is pulled off pretty well due to the continuing competency of the band in the music department. It’s not a classic, but “Carpe Diem” is nonetheless a good pickup if you like your power metal cuisine with extra keyboards.

Originally submitted to (www.metal-observer.com) on January 25, 2010.

Heavenly were probably wise to catch your eyes with the 'sugar & spice' of the cover art for their 5th album, because the album itself is a mixed contrast with some great, busy guitar rhythms and a vocal performance that leaves a lot to be desired. I've always gone back and forth on their releases...the band started off with a very similar, anthemic sound to a French Helloween or Freedom Call, but have since developed into something a little more unique. That being said, I think the band peaked on their 2nd and 3rd albums, Sign of the Winner and Dust to Dust, which were both pretty epic. Virus from 2006 was decent, and Carpe Diem at least clings to some of its predecessors, but I had a positive reaction to only a few tracks.

The title track is first, which kicks off the album with some excellent, bustling guitar rhythms that create a polar opposition to the cheesy 80s Journey-like prog synths in the verse, or the often whining vocals of Ben Sotto. There is a female backing vocalist used here, thankfully for only a few brief seconds, and in the end, I really only enjoyed a few of the guitar licks. "Lost in Your Eyes" has a nice, symphonic forward momentum, where the guitars and synths really work in tandem, Corbiaux and Lapauze capable of some sprightly little melodic licks, but the song proceeds to grow more dull as it moves along, almost feeling like At Vance with a different vocal. "Farewell" sounds like a "Bohemian Rhapsody" from Queen, only a few decades too late and not good. I like the pounding bass that begins "Fullmoon", and it once again sounds like big 80s radio hard rock with a dash of power metal in there. Not so bad, but the following "A Better Man" is another mix of Queen and showtunes. "Ashen Paradise" uses a generic vocal choir pattern that we've already heard a thousand times, and of the remaining tracks, "The Face of Truth" is probably the best for a few moments of memorable, melodic intensity. "Ode to Joy" feels like Queen meets Helloween, and "Save Our Souls" a lot like Freedom Call with more annoying vocals.

Carpe Diem is not so different from the band's previous works that you will note much of a difference, but the delivery is just not so convincing. Clearly the band tries to incorporate a lot of their 70s and 80s influences, so they don't come across like another generic European speed/power metal act, but they're not always the tasty kind of cheese. The musicianship is tight, as usual, and the production of the album really meets the modern standard for its genre, but I find myself a little underwhelmed here, with only 2-3 worthwhile songs.

Highlights: Fullmoon, The Face of Truth

-autothrall
http://www.fromthedustreturned.com

It is said that romance is the universal language. If that''s true, then an album like Heavenly''s Carpe Diem should be an album that everyone can enjoy, for its timeless themes of love, sex and only living once. However, it sucks, so nobody will really be enjoying it much.

The strange thing about this particular album is that it follows Heavenly''s great Virus from 2006. So unlike Freedom Call, Nocturnal Rites and other bands, they didn''t waste any time in giving us their worst album to date. It''s like they said, "hey, Gamma Ray sucks nowadays, I guess we''d better follow along!" Isn''t that just charming of them?

Seriously, though. What is this fruity, baseless concoction of gay pride? Carpe Diem is a failure in all aspects. They barely even remember how to write songs, apparently. Where the last album had riffs that built upon one another to create memorable, powerful musical landscapes, this album squanders everything in a boatload of overbearing vocal harmonies and a terrible lack of hooks. There are maybe one or two songs here that I can listen to and actually enjoy, and even those aren''t good compared to what the band did in the past. I have listened to this several times, and it just keeps disappointing me, whether it is in relation to how the band used to sound or just because it is annoying ass shit that I don''t want to hear again.

These songs are excellently produced and performed, but the amount of thought put into their composition is pretty low. They aren''t catchy. The riffs don''t seem to go anywhere - well, they go down pretty well. But that''s neither here nor there. It is a tiresome exercise in AOR drollery that should have been left on the backburner to die. There are a couple of songs with good riffs, like the title track and "Fullmoon," but these songs lack a good vocal performance and just aren''t as well constructed as they could be, sounding messy. "Lost in Your Eyes" is about the only one that sounds like the Heavenly I wanted to hear, and it would be a B-side on Virus. "Ode to Joy" isn''t bad either, even though it's kind of an insult to Beethoven to include his theme in a song on an album of this caliber.

"Ashen Paradise" starts off with an intro reminiscent of a buzzing bee-hive, exploding into a sort of weak parody of how Heavenly should sound. "The Face of the Truth" is as faceless as a Heavenly song gets and "Save Our Souls" starts off with a stupid sci-fi sound effect and has a terrible chorus. And just listen to the ballads; do you honestly think these ballads could rip off the worst of Gamma Ray any more? Not only does "Farewell" share a name with a Gamma Ray ballad, it is also even lamer than that one was. Blow me. "A Better Me" is painfully ball-less. Please, stop, you''re giving me heartburn with the amount of Gorgonzola you''re piling on! Good god, what the fuck, did Daniel Powter have a songwriting credit on this? It''s painful. Kind of like Queen if they sucked. Or maybe the last album was just a farce? Maybe the band just never had that much talent to begin with - is this really what you''re left with when you strip Heavenly of all the Gamma Ray and 80s Helloween-isms? A frightening thought.

Heavenly''s problem on here is that they don''t give a crap anymore. This is an album with lyrical themes mostly revolving around sex and romance, and quite badly written at that, and a cover with two women about to French kiss - one of them with a nipple showing. This is a band that just doesn''t care. Everything about this music reveals that fact in sad clarity. They couldn''t figure out how to follow up a great album, so they just threw their hands up and put out whatever came to their heads first. Songs just plod along with falsely happy demeanor, with Ben Sotto giving an uncharacteristically bland, overly sappy performance that I honestly detest. This is not an album for those who want good music, it is an album to put a drink on top of while you wank off to the cover art. Just skip Carpe Diem, for there are far better albums you could be wasting your time with. Silly, inconsequential, mediocre as hell.

Originally written for http://www.metalcrypt.com

Heavenly is a Power Metal act based out of France with some pretty high acclaim backing up the band and their previous albums, with their releases climbing pretty hard in various charts in certain regions they were released. Carpe Diem is their fifth full length release, and if you never heard this band before, this is perhaps not quite the best way to be introduced the group. While still somewhat talented, Carpe Diem is a very commercial-sounding Power Metal release full of moments that will have even the most dedicated fan of the style laughing uncontrollably.

This one starts off rather weak with the title track, "Carpe Diem", sounding really hollow, generic, and really lacking any sort of bite whatsoever to hold your attention. The tracks that follow just get progressively worse, and "Lost In Your Eyes" is a weak song as well that just abuses the traditional Power Metal falsetto singing vocal style by using a higher vocal pitch to the point where you are going to confuse the vocalist with a female, though I assure you, Ben (Benjamin) Sotto, is male. But that is still not the worst, as that's up next on the laugh out loud outrageously cheesy and horrible "Farewell" which sounds like the band covering a song that came out of a Disney animated motion picture, or a weak Power Metal rendition of something out of the musical Annie. This downward progression is enough to make any listener shout "Enough already!" and take their copy immediately back to the retailer they bought it from, demand their money back, and then pursue a quest to smack each member of this band upside the head.

And you should! But, there's some decent material that follows after these three tracks that close out the album on a higher note then what it started out with. While "Farewell" is not the only Disney/Queen/Meat Loaf musical orgy track on here, the band seems to put enough attention in the track "Fullmoon", which does have a bit that "Carpe Diem" and "Lost In Your Eyes" lacks, and doesn't quite sound as hollow as those two. That could also just be that you just suffered through three horrible songs, and it comes off as a relief to your now bleeding for all the wrong reason ears, but either way the song does have some strength behind it and is not all that. "Ashen Paradise" is also another stand out track, clearly focusing more on a Symphonic sound then a traditional Power Metal atmosphere, and utilizes some samples of sound effects from planes and explosions at certain points, but only momentarily, but throughout. "Save Our Souls" is also a pretty good track, being a little more restrained and harmonized vocally and not so fixated on Ben singing as high as humanly possible, as well as has a guitar solo that doesn't sound hollow against some rather lame keyboards, closing out the album properly and makes you wonder if the start of this one was some sort of sick twisted practical joke.

For those who are heavily into this style of music, take this into consideration: Carpe Diem is the bastard life that was spawned by the genetic waste of an orgy including, but not limited to the falsetto vocal side of King Diamond, the epic symphony-like musical urge of later Rhapsody/Rhapsody Of Fire, Meat Loaf, the vocalist of Queen, Gamma Ray, Fairyland, and just about any children's animated musical by Disney. While this release has only a handful of really impressive tracks, if even that many, it's just a very bad and unique album. The musical score-like tracks"Farewell" and "A Better Me" sound very professional, but "Farewell" is, let's face it, absolutely hysterical. There's not much positive that can be said about this release, and even though it have some material that is worth checking out, it plays out like a confused musical with nothing that really matches each other and is even more disverse as a whole then one single Opeth song. If you can make it through the end, and have plenty of Tylenol to remedy the headache brought on by all this and the insanely annoying-over-a-short-amount-of-time vocals, you'll see that the ending of this album does show some promise and goes from an absolute waste of time into something that just needed some time to pick up. Sadly, that time doesn't kick in until near the end.

Originally published on Apoch's Metal Review
www.apochs.net