Female organists are not common, and Anna Lapwood was the first woman in 560 years to be made an Organ Scholar (an organist who performs at services in exchange for tuition considerations) at Magdalen College, Oxford. Those who have a sense of humor about what they do are rarer still (Lapwood quotes a critical evaluation of composer Cheryl Frances-Hoad to the effect that "she is unafraid even to sprinkle a little cheese over it all"), and those who can pull off Botticelli Birth-of-Venus graphics may have been nonexistent until Lapwood came along. She has certainly made a splash in the tradition-bound organ scene, but for all that, what catches one's attention about Images, her 2021 solo organ debut, is that for all the innovation, it's a solid organ album with many ties to tradition. Four of the works, by Ravel, Debussy, Britten, and Messiaen, are arranged for the organ, but only one, that of Britten's Four Sea Interludes, Op. 33a, was arranged by Lapwood; organists in the past have noticed the suitability of the other works for organ transcription. As it happens, Lapwood's Britten is splendid, catching many small details in that beautifully orchestrated score. She also finds interesting new works, including one by Frances-Hoad and one by rising composer Owain Park, to complement her moody, late-night mood, which she describes this way: "One of my favourite things about being an organist is the exquisite feeling of practising in a church or cathedral late at night. The door is locked, the lights are often out, and time seems to flow differently. ... Sound seems to travel differently too, piercing the warm cushion of dark silence like a beam of light. On this album, I've tried to capture some of that magic, recording in a chilly Ely Cathedral after hours in January 2021." The result of all this is an organ album that is nicely lively but does not go off the rails in any way at all.