Phantasm is an inspired fit for this repertoire. The musicians’ distinctive sound – immediately warm but spiced with an edgy kick – is as assured as ever, ideal for Tye’s oft-madcap In nomines…Director Laurence Dreyfus’s insightful notes not only contextualise and hypothesise, but helpfully guide listening too…the consort’s percussive energy brings a contemporary feel to proceedings.

Sometimes plangent, often ebulliently uplifting, these are ever unpredictable pieces, which can switch from high mood to low, content to unease, on a sixpence. All are exquisitely played by Phantasm, directed by Laurence Dreyfus.

This collection of [Tye’]s complete consort music throws up surprise after surprise – a revelation of a recording that offers a startling perspective on a familiar musical landscape…Discovering the unexpected sensuality of the In nomine ‘Round’, the yelping, insistent plaints of the In nomine ‘Cry’ and the provocative dramatics of the In nomine ‘Re la re’, Phantasm are skilled musical tour guides to Tye’s challenging terrain.

These vibrant, spontaneous-sounding performances foreground the rhythmic and harmonic experimentalism of the music to such an extent that I had to check that these sixteenth-century pieces weren’t interspersed with modern responses to Tye’s work.. the dance-like sections in particular often have a rough-shod foot-stomping quality that wouldn’t be out of place at a Tudor ale-house or fayre. Irresistible.

What strikes me about this recording is its suaveness, its evenness, its consistent beauty. Phantasm ride the impish contours of Tye’s imagination with unbending calm...The playing is remarkable, and technically flawless, but in music so full of surprises I would love to hear some surprise.