This is a project of one of germanies greatest electronic artists Ernst Horn (who is in Germany well known as the mastermind behind Deine Lakaien, one of the most successful german gothic bands). He is supported by lead vocalist Sabine Lutzenberger, 5 additional singers and 2 classical musicians, playing hurdy-gurdy, harp and cello. He startet this project after the split of Qntal. They kept the name and he took his talent to this new project. This is their second album, the first one, just named “Helium Vola” was released 2000.

This album is a concept album about the fictional case of a woman in the Middle Ages:
“A child dies. Its soul ascends to the stars, up there, where the “High Minne” lives. “Chnospinci”, a magic spell, brings it back and “Nostrae vitae, nostre mortis” becomes a spring song. In between lies the story: a year of woe for a young woman: in love, seduced, deceived and pregnant. The child is sick and she must fight for it.…”
The Booklet is really worth mentioning: not only is every sung lyric printed, no they are also translated into german AND english. Wow, that’s really luxurious!

Now some short notes to the songs:

1.) Liod‑1
An experimental introduction to the theme.

2.) Lucente Stella
I think this must be a piano instrumenting this song. Always startling what sounds Ernst Horn gets out of a piano! I once saw him playing acoustic piano live. You never imagine what is possible with this instrument.

3.) Liod‑2
Also experimental, but different from no.1.

4.) Veni veni
Powerful electronic beats support this duett. Very successful in german underground discos.

5.) Bitte um Trost
A bit weird what he does with the singers here. Curious instruments chosen: organ, something that sounds like a sitar and some strange synthie sounds.

6.) Printemps
Great song. Perfect melange of electronic sounds and classical voices! As powerful as Helium Vola usually are. Those voices force me to try to sing along.…

7.) Ich was ein chint so wohlgetan
More funny/experimental sounds.

8.) Chumemin
Dark + swirling.

9.) Mahnung
Softly instrumented. Mainly carried by the voice.

10.) Vagantenbeichte
Very dark song. This is what I call a male bass voice. On the first album was a song where he gets even deeper!

11.) Frauenklage
Dark, slow, gloomy.

12.) Ondas do mar
One of the quieter songs. Only Sabines great voice and a harp. More isn’t necessary!

13.) Liod‑3
An experimental break.

14.) Zur Heilung
Classical voices mixed with industrial? Sounds impossible but it really works.

15.) Liod‑4
Last experimental break.

16.) Engel
Again only voice and harp.

17.) Dormi
What a beautiful song. Harp, hurdy-gurdy, voice and very decent synthies.

18.) La fille
A capella, so every singer can show his/her talent.

19.) Gegen einen Dämon
A child reciting one of the Merseburg Spells.

20.) In Lichter Farbe steht der Wald
Hurdy-gurdy and very powerful electronics. Makes you wanna dance!

If you ever get the chance to see this extraordinary band live on stage: go there, you won’t regret it! I once saw them and it was really great. I think it was their first concert, on a festival back in 2001. They played in a big hall, well known for the bad acoustic, but somehow they managed it, that every voice was clear to understand.… I was totally fascinated by the great voices of the four singers on the stage!