Frequently, bands find it challenging to maintain interest after their debut album. In contrast, The Beths continue to captivate listeners with each new release. In recent years, group member Liz Stokes has written a new collection of songs that showcase a steady growth in her creativity. Interestingly, these ten tracks have been compiled into an LP titled ‘Straight Line Was A Lie’.
After a decade in the industry, the Kiwi four-piece are daring to reimagine the tried-and-true formulas that have garnered them a dedicated fanbase. Their willingness to avoid stagnation is likely a key factor in their sustained success, distinguishing them from others with similar goals. Their fourth studio album, representing their most evolved work to date, sees the group venturing beyond their comfort zone while effectively preserving their essence.
In the month leading up to the album's release, Liz Stokes chatted with CLASH about piecing together raw material, exploring challenging themes, and translating sound into visuals.
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Is there a narrative or concept behind the phrase ‘Straight Line Was A Lie’, or is it more casual than that?
Most of the songs were crafted during a specific time, and we began tracking them as we progressed. Midway through learning the songs, we sensed the album coalescing, prompting us to search for common threads. I perceived a recurring theme of a circular journey marked by events that occur and then fail, leading me to the realization that life isn’t a straightforward journey but rather a series of loops. Sometimes, you find yourself regressing, which can be negative … or maybe it is, but it’s simply a reality.
Our last record had a sense of cautious optimism, as we were emerging from a challenging time with the pandemic. This new album recognizes that progress isn’t linear — things improve, then decline, and occasionally you linger in the same spot. I still feel like I’m amidst whatever I’m navigating because the narrative isn’t as simple as, “I went through this tough time, and that’s that.” Ultimately, the line doesn’t always trend upward.
The optimism that was present in ‘Expert In A Dying Field’ is largely absent here, which may make it seem like a somber album, but that isn't entirely accurate — it encompasses the range of emotions felt outside of optimism. I think it simply is what it is.
Since the album title was decided later, did the title track also come together towards the end of the process?
Yes, I wrote that song much later than the others. I was on the bus reflecting on the theme, and it just came out. The track is indeed circular, looping back on itself and utilizing light, effortless words that I typically gravitate towards. I didn’t set out to make it the title track, but I wanted it included on the album. Choosing names is challenging for us, and titles often come later; however, this one emerged as a favorite because it resonated with everyone. We’ve always selected a song from the tracklist as the title.
It’s never really about declaring, “I’m going to create an album about this.” You embark on creating something, and as you delve deeper, you can step back and begin to discern an image forming. Even post-release, you continue to learn more. It’s unique to the way we create albums and promote them — you must reflect on your own work. Some artists choose not to engage in that process, which is fine. I find it enjoyable, almost like analyzing your work as if it’s a book report, leading to questions about the prevailing themes of my life over the years.
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Let’s discuss the cover art. What inspired that imagery, and how significant is it to you at this point in the digital age, where music videos seem to take precedence in visual storytelling?
As someone who hasn’t ventured into visual art, I appreciate it more as I learn about it. However, I don’t possess the same confidence with visuals as I do in music, where I have a clearer sense of taste and direction. For music videos, merchandise, and cover artwork, we rely on long-term collaborators.
It’s immensely satisfying to find someone whose artistic vision aligns with mine. Over the past two albums, we’ve collaborated with Lily West, a fellow New Zealander and bassist for Mermaidens. She’s incredibly talented, creating not only band posters but also working in fashion. She brings a wealth of creativity to her work.
Our discussions about album art and the poster campaign were very concept-oriented. It was refreshing to present the album to Lily, discuss its themes, and then let her interpret the lyrics and propose various concepts. It’s liberating to say, “I won’t suggest anything; instead, let’s explore the songs together.”
Witnessing someone digest your work and craft their own creative interpretations is fascinating. On the topic of time, she developed visuals featuring quirky clocks, which resonated with us as soon as we saw them. I may
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