For those familiar with Trio Mediaeval's first record, WORDS OF THE ANGEL, it is impossible not to compare the two. I'm not talking about natural expectations, but of the fact that SOIR, DIT-ELLE seems to have been structured after WORDS.
Unlike WORDS, however, SOIR dwells greatly on modern repertoire. All contemporary pieces in SOIR seem to have been composed with skill and interpreted to perfection; still, it does not seem to me to be as engaging as WORDS. It wants variety; differences between 13th-century "Missa Alma redemptoris mater" and contemporary pieces are blurred by the homogeneity of mood of the latter: all want to be contemporary rework on medieval vocal music; all want to be slow, melodious and dissonant; all were composed having Trio Mediaeval as ideal performers; as a result, all resemble one another too much. When it comes to the solo pieces, for example, they seem more elaborated than the versions which served them as a starting point (available in WORDS), but it was precisely the original simplicity which made them so touching.
Even though Ivan Moody's pieces aren't as striking as "Words of the angel" (the impact of which is partly due to contrast between its "contemporariness" and the "medievalness" of the rest of WORDS' repertoire, by the way), they are still the most moving.
SOIR, DIT-ELLE is perfect, but still. Perfection may win you over in the end, but might not do much for you in the beginning. It is possible that those who don't know WORDS OF THE ANGEL should have a different take on it, and like it better.