Qntal - Qntal III (13 tracks) +Album Reviews

Emotionally Driven Heavenly Voices, Strings, and Electronics

M. Mierzwa | Davis, CA USA | 10/25/2005

(5 out of 5 stars)

"A number of years passed between the release of Qntal II and Qntal III: Tristan und Isolde. In that time Ernst Horn, of Deine Lakaien left Qntal and was replaced by Phillipp Groth. Like their two earlier albums, Qntal III is a perfect example of the ethereal or heavenly voices genre of music and will appeal to fans of bands like Dead Can Dance, Estampie, or Corvus Corax. Most of the songs have a nice blend of soft electronics, stringed instruments, and enchanting medieval vocals (many of which are sung in Latin).

Many of the tracks from this album have worked their way to goth radio broadcasts and club floors in Europe and North America. A few of the songs I'd recommend listening to include: "Name der Rose", "Maiden in the Mor" in which Groth's guitar compliments Syrah's lovely vocals, "Ecce Gratum" with its male and female vocals, "Entre moi et mon amin", and "Vedes Amigo". The album is fantastic ... and you will not go wrong with any of its tracks.

If you enjoyed this album, I'd also recommend checking out other European ethereal artists such as Love Is Colder Than Death, Helium Vola, Sophya, O Quam Tristis, and Collection D'Arnell Andrea (some of which you can find here on amazon)!

"

Mystical Music Based on a Medieval Romance

Dancing Ganesha | Bangalore, India | 09/12/2004

(5 out of 5 stars)

"With a classically trained vocalist and musicians hailing from Germany, along with music with themes based on the medieval story of "Tristan and Isolde," I was instantly drawn to this music and purchased it as soon as it was available. I can say that QNTAL is a pleasant surprise. Here you will find something that is deep, meaningful, and heartfelt, based on a medieval romance of Celtic/Germanic origin and influence; a mystical "soundscape" of sorts, or as the vocalist of QNTAL put it, a sort of "soundtrack" to a movie about "Tristan and Isolde," (if they ever made one.)"

Unclassifiable, yet unforgettable

Kimberly B. Stone | Colorado, USA | 02/20/2005

(5 out of 5 stars)

"I came here to Amazon to read what others say about this CD, so that I might know better what to call it - in my head and in my iPod's genre category. I haven't found the right term yet, but that doesn't stop me from appreciating this CD a great deal. I have to call it New Age World Electronica. If you like Loreena McKennitt, Dead Can Dance or other world/folk inspired electronic new age music, you'll find this CD fascinating. I like all of Qntal's work, but this one really stands out."

Fantastic

Laura Nordell | Downers Grove , IL USA | 11/08/2004

(5 out of 5 stars)

"bought the CD just on discription alone and outher reviews , the music is wonderful the lead vocals sublime ,if you like medeviel babes or dead can dance this CD is for you ."

A modern, Goth-style fusion of Medieval songs, both secular

Brianna Neal | USA | 09/29/2006

(4 out of 5 stars)

"Dark, driving and sometimes spooky, this third recording of Qntal is one of the more interesting attempts to deconstruct and modernize medieval music. Whispy, sometimes detached vocals float above a deep, multilayered foundation of keyboards, guitars and insistant beats that develop and grow beyond the mindless repetition often heard in modern dance music. The compositions are well thought out, carefully layered, and have interesting and varied sound effects. And, thankfully, Qntal has chosen to move beyond the much-overused Gregorian chant (a la Enigma's many copycats) to tap into the music of the medieval laypeople--minnesingers, troubadours, scholars, kings and that ubiquitous composer of all that is traditional, fondly known as "Anonymous." It's nice to have this sort of music given some exposure too. But I have to admit, what with the techno elements and dark ambience, not to mention the driving dance beats that threaten to drown out the vocals, it's sometimes hard to find much of the Middle Ages in this album. To be sure, the lyrics are taken from period sources as minnesingers Walter von der Vogelweide and Gottfried von Strassburg, as well as the Carmina Burana, the Cantigas de Santa Maria, and the Cantigas de Amigo. I recognize the melody of Maravillos as being relatively intact, and some additional melodies sound familiar as well, such as that of Cantiga de Santa Maria #1 in track #8, here coupled with German lyrics by Gottfried. But other songs seem more contemporary in origin, constructed with the general assumption that anything in a minor key with a simplistic or droning harmonic structure will sound "medieval." Nonetheless, for a comparative traditionalist like me, it's fun to kick my shoes off sometimes and listen to elements of my accustomed period repertoire performed in a different way, and Qntal certainly fills the bill on that count. The group is made up of Syrah on vocals, Michael Popp on fiddle, oud, saz, tar and vocals, and Fil on keyboards, guitars and programming, with guests Ernst Schwindl on drehleier (hurdy gurdy), Thomas Zoller on dudelsack (bagpipe), Till-Robin Hennecke on djembe, Klaus-Dietrich Groth on vocals, and narration by Andreas Seyferth. For more pseudo-medieval music with a modern edge, try also the recordings of the Mediaeval Baebes, Corvus Corax, Faun, Dead Can Dance, and "MCMXC A.D." by Enigma. The seminal and prolific German group Estampie offers more of an authentic experience, mixing fairly pure presentations of authentic medieval fare amongst their more modern stylings. And if you'd like to take the plunge and try the real thing, check out the following: "Music of the Crusades" and "Music of the Gothic Era" by David Munrow and the Early Music Consort of London, "Music of the Troubadours" and "Alfonso X `el Sabio': Cantigas de Santa Maria" by Ensemble Unicorn, "Carmina Burana" by the Boston Camerata, "Libre Vermell" by Sarband, "A L'Estampida" by the Dufay Collective, and "Istanpitta" I and II by New York's Ensemble for Early Music. Great stuff--unplugged and all on its own!

"

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