Aside from the detour of Folk Songs (ECM, 2007)—which looked to the traditional music of its own country, Norway—Trio Mediaeval has focused primarily on sacred music, dating as far back as the 12th century but, equally, as contemporary as the current millennium, using mass material from England, France, Italy...even modern-day Korea. Trio Mediaeval performs medieval music but, as singer Anna Maria Friman notes in the liners to A Worcester Ladymass, "free from obligations towards a certain system, and there are probably as many individual perspectives on spirituality as there are performers."

Trio Mediaeval's audience, too, is liberated from the stricter confines at the root of much of texts they perform; the group often performs in churches, but for the acoustic nature of these sonically expansive cathedrals rather than for any religious affiliations. Over the course of its five recordings since coming together in 1999, Trio Mediaeval has been unafraid to expand on the angelic purity of their voices, bringing percussion into the picture on Folk Music and, here, the melody chimes that the trio has used collectively, in collaboration with