Posts Tagged ‘Elizabeth Stokes’

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New Zealand trio The Beths channel their friendship into high-energy guitar pop with a smart lyrical bite. 2018 was their breakout year, beginning with signing to Carpark Records and Dew Process, before releasing the internationally acclaimed debut album “Future Me Hates Me”, which was heralded as one the stand-out music releases of that year. The Beths have toured relentlessly on the back of Future Me Hates Me, getting audiences hooked on their ebullient sound. After selling out shows across Australia, New Zealand, North America, the UK and Europe in 2018, the band are proving to be one of the most in-demand live acts on the planet.

We are really lucky and grateful that the four of us will be able to get together for this one and play as a full band. We’ll once again be announcing something new, playing some songs and having some yarns. It’ll be on Youtube this Mon/Tue, if you need time-zone assistance comment your location and i’ll help.

Artists like The Beths have been greatly impacted by the COVID-19 crisis. Donations can be any amount of your choosing. If you have the means, your support would be much appreciated!.
“Dying To Believe” is taken from The Beths’ forthcoming record, “Jump Rope Gazers”, out July 10, 2020 on Carpark Records.

Artists like The Beths have been greatly impacted by the COVID-19 crisis. Donations can be any amount of your choosing. If you have the means, your support would be much appreciated!
“I’m Not Getting Excited” is taken from The Beths’ forthcoming record, “Jump Rope Gazers”, out July 10, 2020 on Carpark Records.

We hope that if you join us you’ll consider donating to the Marsha P. Johnson Institute, which protects and defends the human rights of Black Transgender people, or to Bail Funds.

Songs Featured in this Show:
3:49 i’m not getting excited
10:13 future me hates me
21:45 river run lvl 1
32:36 out of sight
41:33 if swearing makes you nervous cover your ears or something
42:16 idea/intent

THE BETHS ARE:
Elizabeth Stokes,
Jonathan Pearce,
Benjamin Sinclair,
Tristan Deck,

 

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By all conventional wisdom, The Beths should have arrived in 2018 just to say “hello!” and then never be heard from again. After all, their debut album ‘Future Me Hates Me’ saw the Auckland quartet serve up fuzzy, gently ironic power pop that in lesser hands would be indistinguishable from the garage band next door.

The Beths stood out, however, not just because their songs were catchy as hell but because they were rendered with palpable exuberance. The guitars sounded wonderfully brash, the drums teetered on the edge of chaos and, most notably, chatty vocal harmonies from guitarist Jonathan Pearce kept jolting out of nowhere as if he couldn’t help himself from piping up and sending these songs over the top. The album’s sonic delights were as entrancing as the songs themselves — this was music that dared you not to like it.

The Beths have now returned with ‘Jump Rope Gazers’, a second album that adopts a decidedly different approach: not so much leaping out of their songs as inviting its listener in. The lyrics are denser, the music moodier and every sound is more studied and measured. While ‘Future Me Hates Me’ was a mostly chipper affair — its title track expressing regret and self-loathing through a kind of droll, winking meme-speak. On the title track they veer into full-on balladeering, a direction the first record never even approaches, with the whistle-clean and unabashedly wistful end product sounding like it could be a long-lost Cranberries outtake. With genre, performance and production, the band are trying new things here — and that alone is worth something.

The Beths are: Elizabeth Stokes, Jonathan Pearce, Benjamin Sinclair, Tristan Deck

Jump Rope Gazers” features on The Beths’ sophomore album “Jump Rope Gazers”, out now via Carpark Records.

Everything changed for The Beths when they released their debut album, “Future Me Hates Me”, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their hometown, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, “Jump Rope Gazers”, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

“If you’re at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you’re home, you miss everybody, and when you’re away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, ‘wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it–a sentiment we need now more than ever.

Releases July 10th, 2020

The Beths
Guitar: Elizabeth Stokes, Jonathan Pearce
Bass Guitar: Benjamin Sinclair
Drums: Tristan Deck
Vocals, Percussion: All

‘Jump Rope Gazers’ was recorded in Jonathan Pearce’s studio in Auckland, NZ between November 2019 and February 2020
All songs written by Elizabeth Stokes

Everything changed for The Beths when they released their debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their hometown, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, “Jump Rope Gazers”, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

“If you’re at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you’re home, you miss everybody, and when you’re away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, ‘wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it–a sentiment we need now more than ever.

releases July 10th, 2020

The Beths
Guitar: Elizabeth Stokes, Jonathan Pearce
Bass Guitar: Benjamin Sinclair
Drums: Tristan Deck
Vocals, Percussion: All

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The Beths are an Auckland quartet who pen stylish guitar pop with a keen lyrical bite. All four members studied jazz at University giving them the technical proficiency to contort simple pop structures and perfect, lush vocal harmonies. Check out a super rad performance by the Beths “Live at Lincoln Hall”. Recorded on March 6th, 2019 in Chicago, IL.

Tracklist:
1. Whatever
2. Happy Unhappy
3. Little Death

Band Members
Elizabeth Stokes – Vocals and Guitar
Jonathan Pearce – Guitar and Vocals
Benjamin Sinclair – Bass and Vocals
Ivan Luketina-Johnston – Drums and Vocals

Elizabeth Stokes named her band after herself, or, rather, her nickname. So it should come as no surprise, then, that the debut album from New Zealand-based rockers The Beths, Future Me Hates Me, is sharply self-aware. Stokes, a music teacher who quit her day job to tour the world with The Beths, pairs clever, refreshingly straightforward lyrics with uber-catchy guitar pop, and she never stutters in delivering even the most blunt assessments of her doubts, fears and anxieties. “Sometimes I think I’m doing fine / I think I’m pretty smart,” she sings on the album’s title track before, later, completing the thought: “Oh then the walls become thin / And somebody gets in / I’m defenseless.” On dizzying love song “Little Death,” she captures and tames all the butterflies swarming around in her stomach: “And the red spreads to my cheeks / You make me feel three glasses in.”

The Beths sound as if they’re already three albums in, playing with the musical and lyrical finesse of a much older and more experienced band. Every single song on this record arrives with as many contagious hooks and honest confessions as on the sparkly, frank “Little Death” and the toe-tap-inducing examination of overthinking “Future Me Hates Me.” Indie rock is alive and well in Oceania—The Beths, like their Australian neighbors Rolling Blackouts Coastal Fever, hit it out of the park in crafting one of the sturdiest rock debuts of the year.

“Little Death” is taken from The Beths‘ album, “Future Me Hates Me,” out now on Carpark Records.

A delightful pop collection full of power chords and sing-alongs about the confusion, angst, and pain as we fall in and out of love. Hard not to smile, even while you’re crying. The Beths have a way of giving luminescence and pep to even the most harrowing aspects of love and human relation; bright, bespoke chord progressions and glittering harmonies as the backdrop to self-destruction, the grief of loss, and the pain that can come with finding yourself with a crush. “Broke every window pane/so I can feel the cold rain/when I lie in bed catching death, trying to wash it all away…”

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The Beths performing live in the KEXP studio. Recorded October 2nd, 2018.

Our KEXP vid is up! Give it a look if you wanna see me:
– head bang my headphones off with a single bang🤘
– disintegrate into a nervous, mumbling mess💧
– be completely star struck by Cheryl

Songs: Future Me Hates Me Uptown Girl Little Death Happy Unhappy

Band Members
Elizabeth Stokes – Guitar and Vocals
Jonathan Pearce – Guitar and Vocals
Benjamin Sinclair – Bass and Vocals
Ivan Luketina-Johnston – Drums and Vocals

Image may contain: 1 person, on stage, playing a musical instrument and night

The first time I wrote about The Beths “Future Me Hates Me”—which is already near the top of my own personal Best of the Year list 2018 , I zeroed in on one specific aspect of it: the album’s sense of melancholy. And while that’s undeniably present on the record—on the rip-roaring “Uptown Girl,” Elizabeth Stokes vows to “drink the whole town dry”—but what’s also present is a sense of elation. The starry-eyed deep-in-love ballad “Little Death” offers a deeply earnest and touching depiction of true romance, Stokes gently singing, “Your smile, it makes me weak/ and the red spreads to my cheeks/ you make me feel three glasses in,” as the band steadily accelerates behind her, as if matching the rhythms of her heart. The whole record is shot through with deceptively complicated musicianship and attention to craft; what at first feel like full-blast indie rock songs soon open up to reveal deft, complicated guitar work, clever, counterintuitive structures—like the way the coulda-been-on-Jade-Tree rave-up “Not Running” slams the brakes midway through to turn the melody over to group-sung a cappella vocals.  It’s pitch perfect power-pop with smart, sad lyrics and insanely catchy hooks.

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The more you listen, the more you notice the little filigrees and pivots that usually start showing up on a band’s fifth record, not their first—which is both an accomplishment and a challenge. If The Beths are this good already, just imagine where they’ll be four albums from now.

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Upon first listen, The Beths’ debut album, Future Me Hates Me, bleeds together too much, the songs slipping imperceptibly from one to the next. But soon enough, the bubble-grunge riffs and Motown-backup-singer “whoa-ohs” start to distinguish themselves. The New Zealand band has two gears: The first is a more classically pop-oriented retro sound, like a ’60s girl group doing the shimmy-shimmy-cocoa-pop but with guitars and a shoegaze influence. The second is a caffeinated ’90s alterna-rock head rush, with Superchunk-level riffs and Velocity Girl vocals courtesy of singer-guitarist Elizabeth Stokes.

It can tend toward the simplistic—the title track apes early Weezer, for example—but the middle of the album (particularly “Not Running”) shows that when the band embraces its more rambunctious and harder-edged sound, it captures something powerful. By the time the last notes of the slow-build barnburner “Less Than Thou” close things out, Stokes’ mission is clear: a joyous refusal to stop riffing, no matter how heartbroken.

The Beths‘ forthcoming album, “Future Me Hates Me.”

Image may contain: 3 people, people standing and glasses

Everyone idealises having a crush until you actually get one, and realise that it’s actually pretty exhausting, agonising over what type of text to send and why they haven’t responded and whether it’s correct to be obsessing so much. “Happy Unhappy”, the wonderful new single from Auckland four-piece The Beths, pinpoints this exact feeling of frustration perfectly.

“You’re in my brain taking up space I need for delivering lies and suppressing the sighs”, sings lead singer/guitarist Elizabeth Stokes on the song’s wonderfully acerbic pre-chorus, before pivoting to something altogether much sweeter: “and for navigating escape when I get lost in your eyes, it’s taking up all of my time”. The track deals with this frustrating duality perfectly; it’s nice to care about someone, but it’s a real pain too.

“Happy Unhappy” is another winner from The Beths, after 2016’s excellent EP Warm Blood, and the equally great singles “Great No One” and “Future Me Hates Me”. “Happy Unhappy” is taken from The Beths’ debut album Future Me Hates Me, which is out on August 10th on Carpark Records, and features both “Great No One” and “Future Me Hates Me”. It’s gonna be a good one.