The Bride Bat for Lashes Parlophone/Warner Natasha Khan, better known as Bat for Lashes, has a flair for melodic storytelling. Over the past decade, the Pakistani-born, English electronic pop singer-songwriter has cultivated a niche with her ability to fashion tangible landscapes and communicate rich narratives through her unconventional music. In 2006 Khan was a popsynth hippie with feathers in her hair. In 2009 she became Pearl, the hyper-feminine, blonde alter-ego who inhabited her second album, Two Suns. She then posed naked on the cover of The Haunted Man (2012), carrying a nude man over her shoulder like game meat. Her latest release solidifies this intrinsic theatricality. Written as the soundtrack to an imagined film, The Bride is a carefully woven conceptual tapestry that tells the story of a woman left at the altar after her fiance dies. She then travels alone on her honeymoon and attempts to reconcile her life. It is a complex portrayal of grief, societal pressures and womanhood, encased in piano whimpers, distorted strings, electronic haze and Khan’s staple soprano vocals. It is a distinctive and ambitious project, with tracks I Do, In God’s House and Sunday Love navigating a broad range of emotions and melodic patterns. At times the vocals are too harsh against the stripped-back accompaniment, becoming shrill, monotonous noise. It is also a shame that, in an album intended to take listeners on a journey, some lyrics are hard to discern amid the strained soprano. Khan has never been a conventional musician. The Bride makes it clear that predictable is something she will never be.