REVIEW: The Beths - Straight Line Was A Lie

On August 29th, Kiwi indie-rock quartet The Beths will be gracing us with their latest album, Straight Line Was A Lie. Known for their bittersweet blend of depressing lyrcisim and infectious pop hooks, the band, having formed back in 2014 as a group of tight-knit university friends, have carved out their own space in the scene. With a discography stretching back to 2018, acclaimed chart-topping hits such as ‘Expert in a Dying Field’ and support slots alongside huge artists like The National and Death Cab For Cutie, the anticipation for this album was always going to be high.

The album continues the bands exploration of upbeat sadness and lyrical honesty, but with a much sharper thematic throughline. “Linear progress is an illusion”, lead singer and songwriter Elizabeth Stokes explains, with that sentiment truly rippling throughout the record. Across 10 tracks, Straight Line Was A Lie swings between exuberant indie-rock and stark vulnerability, creating a sense of a journey that is both playful and intimate. 

The title track opens with a breezy summer sound that thoroughly masks its existential undercurrent. Its refrain of “round again” underlines the central theme of the frustrating and cyclical nature of progress. The follow-up, ‘Mosquitoes’, drastically slows the tempo and swaps the brightness of the opening track with minimalist self-loathing. Beginning with a stripped-back production before the full-band crashes in after the first chorus. It closes with the gentle sound of running water, acting as a sonic nod to the “creek” frequently referred to across the song.

Avid followers of the band will recognise singles ‘No Joy’, ‘Metal’ and ‘Mother, Pray for Me’, Of these, ‘No Joy’ stands the strongest, combining addictive punchy drums, tumbling riffs and layered harmonies in a comical lyrical contrast, which is what The Beths do best. ‘Metal’, while catchy, does feel somewhat generic in the context, paling next to ‘Mother, Pray for Me’, which plays like an overheard phone call. It is undoubtedly one of the most intimate moments on the record.

‘Til my Heart Stops’ is a standout track. With unsettling distortion unlike what they’ve done before and a ghostly atmosphere, it feels as though it charts the fragility of life itself. It climaxes with a harmonious repetition of “in the rain” before cutting off abruptly, which could be taken as a chilling musical metaphor of a heart-stopping mid-beat. ‘Take’ jolts the momentum back into the album, with a driving, furious bassline complimented by impactful drumming and the records most exhilarating guitar solo. ‘Roundabout’ continues the high energy of the previous track, featuring a well-utilised violin in the outro, acting as a surprising delight.

The later tracks build on the atmospheric experimentation previously explored. ‘Ark of the Covenant’ unfolds slowly, opening with subtle static sounds. It utilises a gentle piano and later, echo effects to create something haunting and truly cinematic. The closer, ‘Best Laid Plans’, offers a seemingly sunnier resolution with jangly guitars and a buoyant rhythm, though the inclusion of a voicemail buried in the mix lends it a beautiful and bittersweet feeling of unfinished business. Its extended runtime does, however, soften the impact of what may have been a more powerful ending.

Overall, Straight Line Was A Lie doesn’t reinvent The Beths' sound, but that’s not what it set out to do. Instead, it simply refines what the band does best: combining self-aware lyrics with vibrant hooks of indie-rock. Themes of mental health, cyclical struggle, and resilience are woven carefully into each track, ensuring that both casual listeners and longtime fans alike will connect with the music. This September, they’ll be bringing the album to life on their UK tour, which is a perfect reminder that while progress is never linear, it can sound glorious.

Score: 7/10

Straight Line Was A Lie will be released on August 29th 2025.

Words: Chloe Sodeau

Photos: The Beths