Talent is clear from the first; style is a dimension of an artist’s presentation that they often find or grow into. Chapell’s artistic journey has reached a juncture where his style has solidified without compromising the substance in the heart of his songwriting. His stylistic polish is never an empty vessel. Chapell’s new collection, The Underground Music Show, is a varied and quietly audacious work that opens avenues into the future for this Stamford, Connecticut-born songwriter. He works with a consistent cast of collaborators to help bring off this achievement while still being the undisputed creative center of the release.
His experiences fuel that creativity. Chapell places himself on the front lines of the COVID-19 experience, without outright stating so, during the first track. “The Underground Music Show” swings the door open to the album’s following twelve tracks with a song about how New York City looked during the pandemic and the memories of bygone eras it invoked for Chapell. He scatters downcast moments throughout the song’s lyrics, yet it’s an ultimately hopeful effort. Violinist extraordinaire Lorenza Ponce dispatches a potent solo during the cut’s second half, and guitarist Ann Klein stands out with the first of several pivotal performances.
“The Space Between Us” takes listeners in a distinctly different direction. Chapell introduces piano into the songwriting mix for the first, but far from final time, and it helps accentuate his talents for adult pop songwriting capable of juggling multiple moods. The predominant theme of this composition is heartache, but there aren’t any truly sad songs on this release. Their existence alone refutes despair. “When the Music Plays Again” underlines that sentiment. Chapell’s lyrics look towards tomorrow while acknowledging life’s frequent difficulties. The music achieves a glittering anthemic sweep that carries listeners aloft without sounding coy.
“Suddenly” explores a handful, though far from the only, of examples of how life can turn on a dime. Anthemic tendencies are peeking through during this cut. However, Chapell modulates those qualities, preferring a low-key expression of that mood instead of the full-throated ambitions heard in earlier tracks. “I Used to Say This Could Never Happen to Me” explores similar lyrical territory. Chapell contrasts the wild and wooly days of youth with his much more sedate life now and finds himself a little incredulous. It’s far from dreary. It’s a song implying gratitude through its good-natured humor and crucial lines in the lyrics.
“Oh, Amor” unshackles his rock influences and lets them run free. However, it isn’t overwhelming. He does an excellent job of mingling those influences with the consistent pop sensibilities pervading the release and unexpected instrumental touches like organ further diversify the album’s sound. Piano returns for the track “Like We Just Met”. It’s one of the best-constructed moments on The Underground Music Show in the way it opts for intimacy during its first half before reaching a rousing crescendo in the second part of the track.
A final track, “Names from Your Past”, inhabits the same thematic universe of earlier songs. It’s far from a throwaway tacked onto the release. His uniquely emotive voice thrives in the track’s turbulent arrangement. It’s a final reminder of Chapell’s inventiveness on an album practically bursting with possibilities. Well done, Chapell. We’ll be eagerly waiting for whatever comes next.
Mindy McCall
