Straight Line Was A Lie showcases a more vulnerable side of the Beths while preserving their signature power-pop craftsmanship. Elizabeth Stokes's delicate vocals remain central, supported by Jonathan Pearce's fuzzy riffs, Tristan Deck's driving drums, and rich four-part harmonies. The album balances polished, catchy arrangements with rawer, studio-present grit and occasional chaos, such as in the propulsive “Take.” Lyrical lines feel less guarded and more exposed, mixing witty turns of phrase with blunt emotional statements. Dynamic builds, cathartic loops, and searing instrumental moments punctuate songs and underscore heightened emotional directness.
There is something graceful, practically effortless about how the band's contrasting elements-Elizabeth Stokes's beautifully delicate vocals, Jonathan Pearce's fuzzy, catchy riffs, Tristan Deck's driving drums, and all four members' shimmering harmonies-come together to create power pop gems that simultaneously feel modern and like they'd be topping the college rock radio charts in 1989. The level of musicianship is so high, so consistent, that four albums in, you could almost take the quality of a Beths album for granted.
These are the first words you hear on the Beths' latest, Straight Line Was A Lie, apologizing for the opening track's false start.At first, it feels like a cute, self-deprecating peek behind the curtain from the celebrated New Zealand band, but upon reflection, it's actually a fitting introduction to the more vulnerable album that follows. I never previously associated such descriptors with the Beths. To me, the adjective I'd most often use is "exquisite."
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