"The process of my music writing goes beyond the subject itself—it's about me processing it, followed by my reaction to my own processing."
— Liz Stokes
Bret, you've created a wide variety of music in numerous styles. How do you determine the direction for recording under your own name?
Bret: Initially, I attempted to compose songs that were not comedy-focused to see what emerged. I did that for my last album. This time, I wasn’t fixated on avoiding humor, if that makes sense? I was less concerned about the subject matter. I thought, 'if I find it amusing, that’s perfectly fine,' and if there was a humorous line, I was open to including it, whereas I might have omitted it previously. I understand your point: I could theoretically create a hip-hop album; exploring different styles wouldn’t be a massive leap from my past work. On the last album, there’s a track titled ‘Little Tune’ that I found particularly strong; it practically plays itself live, and that experience provided me with some insight for ‘Freak Out City’. Additionally, the band I collaborate with has a more jazz-like vibe than rock, allowing the chords to be rich with extra notes.
Liz: I sense a greater organic quality in the new album. However, having everything available can be a bit overwhelming, right? You have to select the sonic environment you want to inhabit.
Bret: I wanted the album to feel live. My band is somewhat like the Wellington Wrecking Crew—they're all exceptional musicians. I aimed to write songs that would let them truly express themselves.
Liz, the writing on 'Straight Line Is A Lie' is quite reflective, showing signs of introspection. You've mentioned experiencing mental and physical health issues during its creation—do you feel you've infused a part of yourself into this music?
Stokes: Yes, I’ve faced various highs and lows in recent years. That heightened my anxiety and depression, leading to a focus on managing many aspects of my life, starting therapy, and trying to improve myself. Introspection has played a significant role, especially since I tend to be an overthinker. So, perhaps it’s natural that my music writing is about more than just the subject—it’s me processing it, and then reacting to my own response. It has been quite cathartic for me; I’m quite verbose and struggle with being concise. When trying to explain something, I often end up with a large cloud of words. Writing a song presents my best opportunity to distill my feelings into something more manageable... even if my songs aren’t always concise. I strive for succinctness but often fall short.
Bret: Liz and I performed together in Los Angeles in April, and I remember hearing the song 'Mother, Pray For Me.' I was blown away by it. It's incredible live, and the recording is magical. Listening to the track captured the same feeling I experienced during the live performance—it's truly a special song. Have you shared it with your mom?
Liz: Yes, I have!
Bret: How did that go?
Liz: Honestly, this is classic me. For a year and a half after writing the song, I kept thinking, ‘I’m going to perform this for my mom; oh my gosh, it’s going to be so nerve-wracking, and I really don’t know how she’ll react.’ Then, on the way over, I decided, ‘Okay, I’m going to do it today.’ There’s a language barrier, so I figured, ‘she probably won’t grasp the lyrics as some people struggle to understand lyrics anyway, especially with the language barrier. I can show her the lyrics, but even a screen full of text can be overwhelming, so she might miss much of the song's meaning.’ She listened to it, and more than anything, she was moved that I had written a song for her. All she said was: ‘thank you.’
The Beths’ 'Straight Line Was A Lie' is currently available via ANTI-, and Bret McKenzie’s 'Freak Out City' is also out via Sub Pop. The Beths will be touring the UK from September 20th-27th; find more details and tickets here.
“It really feels like I brought a child into the world,” pH-1 declares, calling in from Seoul, South Korea. It has been a month since the launch of his latest project.
Rich in the emotional weight that they have already shown a talent for expressing.
This collaboration announcement has certainly raised eyebrows. Kieran Hebden, known as Four Tet, is a prominent figure in the electronic music scene, whereas William Tyler...
Since their rise in the early 2000s, Modeselektor—comprising Gernot Bronsert and Sebastian Szary—have established themselves as a staple of Berlin's continually transforming electronic scene.
The artwork for David Bowie's 'Aladdin Sane' will be available for purchase later this year. The legendary 1973 album features a stunning portrait of Bowie in his glam style.
Uplifting folk-rock that centers around connection.
The two New Zealand natives (and, more significantly, friends) gather to discuss the launch of their new albums, ‘Straight Line Was A Lie’ and ‘Freak Out City’.