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This Phaia release is a mystery: recorded in 2000 but only now released with frustratingly minimal information, Ensemble Obsidienne’s tart, incisive reading of Josquin’s Missa l’Homme Armé sexti toni offers an interpretational alternative to the super-smoothness of British vocal groups. The vocal eccentricities with which it is marbled are as divisive as Marmite, however, and if this is not, as I suspect, a live recording, there is way too much to forgive.

REBECCA TAVENER Read the full review on Agora Classica

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