Ez Luscombe
Taking inspiration from trailblazing female-fronted alternative acts such as Alvvays, Rilo Kiley, and Bully, The Beths have been crafting their sound over four studio albums, from the fuzzy, DIY ethics of their debut EP Warm Blood to their impressive attempt at a throwback jangle pop sound akin to The Smiths and The Cranberries on Expert in a Dying Field. Fourth album Straight Line Was a Lie blends the influences of yesteryear and successfully modernises them courtesy of lead guitarist and producer Johnathon Pearce and the talents of Michael Howell and makes for a varied listen that will make you contemplate and maybe even shed a tear.
‘Metal’ was the first single released for the promotion of their latest effort and the dreamy guitars and stream of consciousness lyrical content wouldn’t sound out of place on an early 90’s Sundays release, but the intricate guitar riffs blended with dreamy guitars bring the sound up to date and the way Stokes fully embraces her Kiwi accent on Straight Line Was a Lie is commendable, as it adds a more human feel to the entire release.
The softer, more acoustic moments on this release leave a profound emotional impact; ‘Mother, Pray For Me’ (written about Stokes’s own complicated relationship surrounding her mother) is sure to leave you bawling everywhere from your messy teenage bedroom to the middle of the supermarket queue, ‘Mosquitos’ evokes personal memories of simpler times like enjoying time in nature and walking by the creek; and the sparse instrumentation that puts the focus on Stoke’s vocals is a love letter to times that may be happier, but are never forgotten.
’Til My Heart Stops’ is a perfect example of a track that would not sound out of place in a late 1990s and early 2000s sitcom akin to Dawson’s Creek or Friends, but the modern production, the sincere and heartfelt lyrical prowess, and the matter-of-fact vocal delivery makes ‘Til My Heart Stops’ another standout on an album chock full of bangers.
Despite the album’s musical shift towards a more sparse, acoustic, and lyrically complex tracks, mid-tempo closer ‘Best Laid Plans’ has a sophisticated drum beat courtesy of Tristan Deck’s indisputable talent, Benjamin Sinclair’s intricate bass arrangements that are clearly inspired by late bassist from late The Smiths bassist Andy Rourke, afrobeat-esque guitar riffs that you can’t help but boogie to, and a wall of sound during the last minute of the track that leaves a lasting impact, and will keep you coming back to a dazzling highlight from The Beths impressive discography.
Although some may argue that Straight Line Was a Lie is just another example of The Beths clearly wearing their twee pop, indie, and new wave influences on their sleeve, their latest release has the potential to strike a chord with listeners from all walks of life and the Auckland quartet have shown that they can mature with their audiences whilst still creating thought-provoking, lyrically complex, and accessible music to cry to, laugh to, and reminisce with your childhood best friend over a bottle of wine to.