Following the near-flawless 2022 Expert in a Dying Field, The Beths return with Straight Line Was a Lie, released via Carpark Records. Where the former album captured the band at their most confident, the new record shifts into a softer approach that changes the overall appeal of their sound. The quality of musicianship and talent remains undeniable, but the album lacks some of the momentum that made its predecessor so compelling.
The Beths’ ability to balance melody and emotional weight has been their defining strength for a while. Here, however, that energy is lacking altogether. The songs often ease into slower passages, risking the loss of the cool edge the band once had. At times, Straight Line Was a Lie even feels more like a solo project rather than a full-band effort. The result is an album that is pleasant yet a little forgettable.
However, there are definitely standout tracks. ‘Mosquitoes’ and ‘Best Laid Plans’ effectively showcase The Beths’ knack for crafting distinctive hooks, proving that the band’s melodic foundation remains intact. Elsewhere, the production takes a more unusual turn, particularly on ‘Ark of the Covenant’, where the production sonically feels eccentric compared to the band’s usual tone, which may divide listeners.
The Beths have drawn comparisons to acts such as The New Pornographers and Superchunk, and honestly, these links make sense. Just like those groups, The Beths are evolving from their punchy power pop into a more patient songwriting style. Whether this shift resonates will depend on how willing listeners are to embrace the change.
Beyond individual tracks, what stands out most about Straight Line Was a Lie is its pacing. The sequencing on here deliberately slows the record down in places where earlier albums would have surged forward. This creates an atmosphere that is more introspective but also more challenging to adapt to over repeated listens. The strong melodies remain, but they arrive more sporadically. Ambitious as this new sound may be, it ultimately sacrifices excitement in favour of subtlety.
Lyrically, the album continues to explore familiar territory for the band. Where Expert in a Dying Field delivered these ideas with urgency, Straight Line Was a Lie often wraps them in gentler, almost hesitant arrangements. This reinforces the sense that the record is searching for its identity rather than being certain about it.
Despite its flaws, Straight Line Was a Lie should not be dismissed as a misstep. There is definitely value in a band taking risks. The Beths have chosen not to replicate past successes, instead pushing themselves into new territory that may lay the groundwork for their future creative sound. Some listeners will miss the style of earlier records, while others may find richness in the slower, moodier textures.
Where this album succeeds most is in its ability to reveal new details with each listen. The production encourages attention to subtleties that might otherwise be overlooked, such as small instrumental flourishes and layered harmonies, offering a real depth that gradually unfolds in front of you.
Ultimately, Straight Line Was a Lie is unlikely to be remembered as The Beths’ strongest effort, but it offers an intriguing glimpse of where they might be headed. The record feels like an album that closes the door on one phase of their career while cautiously opening another, a real transition. For a band that is known for their infectious energy, their willingness to challenge their own formula suggests there is more evolution to come.
