"Sleeping" is a less chilly Arcana, with singer Syrah's ethereal voice drifting over a blancmange of synthesisers. It's pleasant enough, though not particularly memorable. More impressive is "Departir", with its fathom-deep beats and Dead Can Dance-style orchestral stabs. Any worries that this album would be New Age mimsy are forcibly banished. The way in which the modern dance beats lie under the 'proper' parts of the song reminds me of modern Clan of Xymox. This song builds to a juddering and distorted climax. Lovely. There's a left-field sensibility to noises that accompany the swelling synths and heavy beats of "Ich Minne Einen Ritter" which might confuse a dance floor, but which gives the listener at home much food for thought.

Is it my imagination or can I hear children playing marbles and laughing during the introduction to "Translucida"? Either this ambient noise is deliberate or the band recorded their album next door to a school playground in the 1930s. I'm used to bands like Qntal transporting the listener to another time and place, but this is ridiculous. "Translucida" is a languid trip-hop odyssey. The beats are still there, yet this time they gently increase your heart rate rather than urge your feet to dance. Qntal aren't a band that do catchy choruses, but there are some exciting 'zooming' noises during sections of "La Froidor" which add a frisson of excitement. Otherwise the pace is one step above languid, which encourages the listener to dream, but does not bore the same to sleep.

"Glacies" is the sound of a rave in a medieval monastery. Those monks might have taken a vow of silence, but they still like to blow whistles, wave their hands in the air and get off their faces on E. If anything, these beats are a touch too relentless, they seem to risk running away with the song. "Worlds of Light" offers respite from the rhythmic pounding. Synths burble like a spring, giving the song the feeling of Enya's edgier moments. "Obscure" is a head on collision between medieval-sounding instruments, probably originally made of pig gut, and modern beats.

"Sumer" is another mix of the old and new, with thumping beats for the clubs. An eccentric instrumental break-down, just before the three-minute mark, keeps the formula fresh. "Amorous Desir" once more vaults us into the past. It succeeds because of its use of 'real' instruments mixed with electronics. With "Ludus" we are transported back to the future. This song has the agility of a whirling dervish to sweep you from your feet. The Vivaldi-inspired "Passacaglia" brings proceedings to a classical close.

Considering my current family situation it is about as likely that I would teleport to medieval times as it is I would go to a club. The latter stay open very late when you've got to be up early to look after the children in the morning. So in essence clubs are as much a fantasy for me as the Middle Ages. I choose to spend more of my imaginative life in a faux-fantasy world with does not include glow sticks. I don't see the need to merge the two countries of my mind, but if you have ever listened to Dead Can Dance and thought: 'This floaty stuff is OK, but wouldn't it be even better if I could dance to it?' Then Qntal have answered your prayers.