The Beths’ latest album, Straight Line Was a Lie, is a record full of catchy hooks, big guitar riffs, and often introspective lyrics. The New Zealand quartet are at the top of their game. The melodies will grab the listener first, but Elizabeth Stokes’ inventive, thoughtful lyrics will stick around after multiple spins of the record.
The title track kicks things off with a charmingly flubbed start, where a voice counts off, then halts, saying, “Sorry, I was thinking about something else”, then counts it off again, and the song starts for real. Stokes is about to show some angst and vulnerability, but the band are also clearly having fun. The opening lines of “Straight Line Was a Lie” essentially serve as a mission statement for the record: “I thought I was getting better / But I’m back to where I started / And the straight line was a circle / Yeah, the straight line was a lie.”
The song is a power pop gem, recalling the best of 1990s rockers like Matthew Sweet. It’s got a big sing-along melody, both in the verses and chorus, and driving, catchy guitars. Stokes’ vocals are layered all over the place, doubling and tripling herself both as harmonies and in unison, taking that don’t quite line up exactly.
Straight Line Was a Lie splits its ten tracks between energetic rockers like this and more subdued songs. “No Joy” is the next rocker, a song that barrels along with an intentionally monotone melody. Drummer Tristan Deck pushes the tempo while Pearce’s crunchy guitar riff muddies up the verses. Stokes sings about anxieties and numbness: “Spirit should be crushing / But I don’t feel sad / I feel nothing.” The matter-of-fact chorus finds Stokes declaring, “No joy” over and over again, while the backing vocals provide more brightness than the flat lead. The bridge changes it up considerably, as Stokes sings wordlessly but melodically while a whole chorus of flutes flutters along in the background.
“Metal” finds the Beths effectively channeling the Cure, with Pearce providing multiple shimmering guitar lines, both electric and acoustic, in an upbeat pop-rocker. Similarly, “Roundabout” rides along on Pearce’s active, upbeat guitar lines, which shift in type but not in mood throughout the song. “Take”, on the other hand, is a darker track with an undercurrent of tension. Even when the backing harmonies come in for the song’s chorus, the band resists brightening up. Pearce provides a noisy, squalling guitar solo, while Deck’s pounding fills put an exclamation point on the end of the song.
On the more subdued side, “Mosquitoes” finds Stokes telling a story about a favorite creek and how it wiped out everything nearby in a 2023 flood. It begins with a softly strummed acoustic guitar and organ, but gradually adds the rest of the group. Pearce’s noisy country-rock guitar solo that fades back into the acoustic setting nicely fits the contemplative mood of the song.
“Mother, Pray for Me”, in contrast, stays quiet throughout. A simple, clean electric guitar riff runs almost constantly throughout the song as Stokes’ lovely singing is at the forefront. Organ and bass fill out the track, but it remains stubbornly percussion-free. “Til My Heart Stops” comes next and retains the quiet mood. It starts gently with simple guitar and bass accompaniment, as well as a sparse kick drum and click sound. After the first chorus, where Stokes declares, “I wanna love till my heart stops,” the full band comes in. The rest of the song is a bright, open declaration of love with big drums and guitars. The layered backing vocals add another set of hooks to an already catchy track.
Straight Line Was a Lie closes out with a pair of mid-tempo songs. “Ark of the Covenant” bounces back and forth from muted and tense to loud and distorted. Stokes’ steady vocal performance keeps the track focused as it switches between moods, though. “Best Laid Plans” has a bit of a new wave sheen, with Pearce’s guitar tone choices and bassist Benjamin Sinclair’s prominent but straightforward bassline. The use of bongos throughout also contributes to the 1980s feel.
This record is an absolute pleasure to listen to. Each song has its own distinct feel. However, the band’s commitment to letting Stokes’ singing be out front and to buttress her with harmonies and backing vocals throughout provides the continuity that might not be there instrumentally. The Beths have been putting out quality music for a while, but Straight Line Was a Lie may be another step up for them.