For Annabel Alpers, the mastermind behind the calling that is Bachelorette, music has always maintained a precise declaration. A resounding assertion in knowing that music can be peaceful and still inventive has given Alpers an expressive project in Bachelorette’s growing development of sound. Moving past her first two albums obscurity, Bachelorette’s all-encompassing sound and amazing scope is a definite noticeable shift in sound. This time around Alpers has shaped the canvas to cater to her growing arsenal of layers and instruments.
The moving or for some, the adaptation, of new sounds is always a challenging transition. The slightly Devotchka-sense of “Sugarbug” is quickly dispelled with the vocal’s overpowering sense. These senses – ultimately gathered about through various different formats of genres – are what make Bachelorette a creative listen. The type of music that Alpers creates is both delicately prepared while at the same time, capable of high results. The ending of the aforementioned song is a sparkling coda that both surprises and fascinates as it leads into “The Last Boat’s Leaving” stomping lull. The latter’s far more pensive than the former and still, the spectrum has been fervently traversed.
The music’s flow and stream of consciousness stems from Alpers’ soaring vocals that fashion a breathy and colorful tone. While the sounds definitely seem to come off as something spectral and as described by some, ‘alien-like,’ Alpers is a well-traveled and well-versed musician that simply encompasses such spatial sounds into her catalog. So even on moments where everything is buried under the mix like the choral vocal layers of “Grow Old with Me,” or when the electronics blur the hedges with whistles on “Tui Tui,” Alpers is always pushing the realms with a knowledgeable care for the meshing of sounds. The refined feelings in the music drive it to something a lot more interesting than standard ‘pop’ music and still, the bumps and beats tend to hit the heaviest.
Like a rich blend of Broadcast tendencies, “Blanket,” recalls a lot of the late band’s strategies in honing in on glittering female vocals and a blissful bass line; here Alpers decorates the walls with a staggering bass that rattles the inner parts with a shaking pulse. The music on Bachelorette is often pulsating but fortunately, it never drags the overall motion of the album’s tremendous use of atmospherics and style diversity. On “Not Entertainment,” Alpers draws from 80s-synth musings with a chugging harmony that features some of the few percussive sections of the album. Lending to a keyboard that is swaying and swirling with reverb, the overtones cast an ominous feeling and the shine of the melody is a welcome addition. There is a great deal of mist in the way everything is prepared for Bachelorette, the makings are in the presentation and like her other two albums, Bachelorette is simply stronger because of it.
You’d expect maybe for Alpers to start drawing on other influences to combine her sounds. Writing the music for Bachelorette between various parts that encompass Libya, New York and Great Britain, the span that the album reaches is obviously grand. Like the music, there is always a vast amount of territory enclosed and in that same sense, Alpers covers a lot of ground with careful trepidation. The meticulous feel of the album stems from its creator and the calmness of the music is a sheer result of it.