As the title suggests, the works here share a double theme. All eight evoke landscapes of varying types, from the wide-open, multicoloured desert of the south-western USA (McCabe) to ancient vistas derived from Japan (Jackson Hill) and Finnish literature (Sibelius), from folklore (Kreek and Kodály) to Walter Raleigh's jail cell as he awaits execution (Chilcott).

Five of the works are commissions by the King's Singers, so unsurprisingly they prove well suited to their impeccably manicured vocal blend, enchanting the ear from first note to last. The McCabe and Maxwell Davies are the oldest, both from 1986. Although the innocent ear might be hard-pressed to identify the composers, they are fi both typical products of their creators' expressive missions, satisfying to hear and challenging to sing, especially McCabe's, with its kaleidoscopic range of tonal colours. No less beautiful is Richard Rodney Bennett's The Seasons of his Mercies (setting Donne in 1992), part of a larger cycle, as are Jackson Hill's vibrantly oriental Remembered Love (2005), part of a diptych setting words by the 7th-century poet Hirotamo, and former group-member Bob Chilcott's Even such is time (1993). A pity at least one of these could not have been given in full: there is room enough.

It may seem strange to hear Rakastava sung by such a small ensemble but the performance is vivid and beautifully balanced. So, too, are Kodaly's brief Evening Song and the four Psalms of David set in his native Estonian by Cyrillus Kreek, from whom Pärt and Tormis learnt much. Signum's sound is warm and close but the acoustic of St Andrew's, Toddington, gives the music room to breathe.