Liz Stokes doesn't want to jinx anything.
Asking the lead vocalist of The Beths to reflect on the journey taken on the band's debut album, 2018's Future Me Hates Me, isn't as straightforward as it sounds. Stokes is careful with her choice of words, if she speaks at all. She's honest but also hesitant before she admits, "I'm afraid of jinxing it or something by saying how much it means."
The "it" is the aforementioned journey enjoyed by the Auckland-based band—a lineup that also includes guitarist Jonathan Pearce, bassist Ben Sinclair, and drummer Tristan Deck. Together they've leaped from continent to continent for the last couple years—at least pre-COVID—opening for the likes of Death Cab for Cutie or headlining their own slate, all fueled by the buzz that comes from an album that landed on multiple year-end lists.
This Friday marks the arrival of Jump Rope Gazers, a sizzling follow-up that lacks any obvious singles—a sign that Pearce says he believes is a win for the band's creative approach. We're inclined to agree. Stokes has nothing to worry about, since there's no way to jinx this momentum.
Analogue: How much reflection has there been for you looking back at Future Me Hates Me and where that album took you?
Liz Stokes: I think we've thought about it a lot. It's weird. The whole last couple years have been a completely different lifestyle to what we were before, which was working full-time and just being a hobby band. It's pretty surreal just how much it's completely taken over our lives. For me, anyway, it's just everything that I do, from when I wake up to when I go to sleep. That's a huge change in that now it's very focused.
Analogue: Would you say those are largely good changes?
Liz: Yeah, majority. My reflections might sound gloomy, but I'm very pleased with the fact that people liked the first record and that it has allowed us to play in all the places that we've played and it's allowed us to make it a job. [Laughs] It's like I'm afraid of jinxing it or something by saying how much it means. Like now, there's the very real possibility that people won't like the new album and we won't be able to do it anymore. That's scary.
Analogue: Is that normal for your personality to worry about that kind of thing or is this all just so new and different that it feels fragile?
Liz: I'm not sure. I mean, it feels pretty on-brand. [Laughs]
Analogue: You mentioned all the places that album took you. How much of that was in line with what you expected before you released the album? Were you prepared at all?
Liz: No, it was toward the end of it when we realized this record was pretty good or something. We thought it was good enough that we should really go for it. It also came at a time when we were self-evaluating and looking at where we wanted to be in the next five or ten years. We were like, 'Well if we don't do this now and take a huge risk, we never will so let's just do it.' For us at the time, it meant seeing if anyone would want to release it. For me, it meant booking a little DIY tour of Europe and the States. It ended up all coming together pretty quickly.
Analogue: I'm assuming it's one thing to record when you're not sure who will be there to listen and another thing to record today. How much of that was in your head when writing and recording this album?
Jonathan Pearce: It's in your mind and it's a new and different challenge to making your first one. But we found that if we didn't change the recipe too much, we found the first album quite freeing. You have that pressure in your mind, but it also means you're building on what you've done before. You don't have to necessarily state as clearly and as often and as concisely exactly what your musical mission is. You can subvert it in a way and be a little bit looser with it. You can trust that it's still going to be your record. It's still going to be your music.
Liz might talk more about this, but she did try to write a lot over the intervening years between the albums. It's wasn't as if you came home at the end of that album touring cycle and just locked yourself in a room to write the album then and there—