Starkly Powerful Tunesmithing and Loaded Metaphors on Abigail Lapell’s New Album
“Time may judge this a classic,” this blog enthused about Abigail Lapell’s 2019 album Getaway. Raves like that as rare here as integrity in the Justin Trudeau cabinet. The small handful of albums which have earned that distinction include Karla Rose Moheno‘s Gone to Town and Hannah vs. the Many‘s All Our Heroes Drank Here, to name two of the best. How well does Lapell’s latest release Stolen Time – streaming at Bandcamp – stack up against her previous achievement? It doesn’t always have the same seething intensity, but Lapell’s songwriting is strong, and she has an excellent band behind her.
She opens it with the hypnotic, sparsely fingerpicked, subtly aphoristic Britfolk-flavored Land of Plenty. Dani Nash’s mutedly ominous, swaying drumbeat anchors the second track, Ships, Christine Bougie adding snarling electric guitar and sparse lapsteel alongside violist Rachael Cardiello and bassist Dan Fortin. It’s a metaphorically loaded departure ballad echoing a big influence in Lapell’s work, Sandy Denny.
Lapell moves to piano for Pines and its allusively ominous nature imagery. Scarlet Fever has stark oldtime blues inflections and plaintive viola from Cardiello. With “silver needles on the wall,” is this a subtle lockdown parable? Maybe.
All Dressed Up, a nimbly fingerpicked acoustic tune, may also have post-March 2020 subtext: “No way out of here, wake me up when the coast is clear,” Lapell instructs. I See Music, a stately piano waltz spiced with Ellwood Epps’ trumpet is next: “There’s no danger in a major key, there’s no harm in a harmony,” Lapell asserts.
She goes back to guitar for the similarly graceful Waterfall and follows with the album’s title track, Stolen Time, a swaying, crescendoing anthem lit up by Bougie’s incandescent lapsteel. “I dreamed I saw my baby, sewage in his veins, a rotten apple in his chest,” Lapell recalls in the next track: is this a tantalizingly brief, disquieting shipwreck tale, or is there more to the story?
“Dance in the ashes, gasoline and matches” figure heavily in the otherwise lilting, catchy nocturne Old Flames. Lapell winds up this often riveting, enigmatic album on an optimistic note with I Can’t Believe. It’s inspiring to see one of the sharpest songwriters in folk-adjacent sounds persevering under circumstances which have been less than encouraging for artists in general. Barring the unforeseen, Lapell’s next gig is an evening performance on May 21 at Paddlefest in St. Andrews, New Brunswick.