Name: Auckland, New Zealand, 2020
Brand: The Beths

Bonus disc

Bonus disc: No

Catalogue number

CAK157CD

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Colour

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Limited edition

Release date

2021-09-17

Signed copies

Signed copies: No

Supplier GB

Tax rate GB

Standard:20

UPC / Barcode

677517015720

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Total Cap

1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

CAK157LP

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Pink

Hot Pink

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[r20264329]

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677517015744

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2 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No / pink

Artist

The Beths

Genre GB

Alternative / Modern

Label GB

Carpark

Carpark is an independent record label based in Washington, D.C. with a focus on electronic, experimental and synth-pop sounds. Founded in New York City in 1999, Carpark has been a prominent player in the music industry for over two decades. Since its relocation to D.C. in 2005, the label has continued to nurture and promote innovative artists who push boundaries and challenge conventions.

With a diverse roster of talented musicians, Carpark has become synonymous with cutting-edge music that defies categorization. From *Toro y Moi*'s dreamy electro-pop to *Speedy Ortiz*'s raw indie rock, each artist on the label brings their own unique style and perspective to the table.

As an influential force in the music scene, Carpark consistently releases groundbreaking albums that captivate listeners worldwide. With their finger on the pulse of emerging trends and sounds, they have earned a reputation for discovering exciting new talent before anyone else.

The Beths are an alternative/indie pop band hailing from Auckland, New Zealand. With their catchy melodies and energetic performances, they have quickly gained a loyal following in the music scene. Formed in [year], the band consists of members [names]. Their unique sound blends elements of indie rock with pop sensibilities, creating a refreshing and infectious musical experience. Known for their heartfelt lyrics and tight harmonies, The Beths have established themselves as one of the most exciting bands to emerge from New Zealand's vibrant music scene.
Since their formation, The Beths have released several critically acclaimed albums, including [album names]. Their music has garnered praise for its relatable themes and honest storytelling. With each release, they continue to push boundaries and explore new sonic territories while staying true to their signature sound.
In addition to their studio recordings, The Beths are also known for their captivating live performances. They have toured extensively across New Zealand and internationally, winning over audiences with their high-energy shows and undeniable stage presence.

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests. As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible. The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous. In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled. “It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?” The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience.

The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible. The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans. With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room. Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences. Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

Auckland, New Zealand, 2020

Music GB

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