How The Beths made their latest record with the help of some seriously weird amps – and a strict "more distortion" mantra
The New Zealand indie-rock quartet are chasing tone gold in strange old amps and guitars that no-one else plays... and it sounds terrific
Hailing from Auckland, New Zealand, The Beths are an indie-pop quartet whose knack for creating upbeat, distortion-drenched earworms has propelled them onto an international stage.
The idea is simple, explains singer and guitarist Elizabeth Stokes: “We just really like pop songs and arranging them in a way that’s fun to us, which is with guitars.” Lead guitarist Jonathan Pearce adds with a smile, “We’re a band with an unofficial official ‘no synthesizers’ rule.”
September sees the release of their third LP, Expert In A Dying Field – an album largely recorded at Pearce’s studio, which houses an ever-growing collection of pedals and vintage New Zealand-made guitar amplifiers. In fact, you won’t find a single Fender amp tone on the record – a rarity in the indie-pop world. The band’s sound is instead characterized by the lesser-recognised tones of the Fountain Mustang 30, the Jansen Bassman and Jansen 6 Twenty.
The Fountain, which according to Stokes “is vaguely Vox-style and really, really bright,” is a particular favourite that Pearce uses for much of his lead work, while the Bassman is what he describes as “honestly quite a strange-sounding amp”.
Consisting of a 1x12” speaker in a tall, upright box with a closed back, the pair discovered that – assisted by a Wampler Plexi Drive Deluxe – they could use it to produce “a very convincing high-gain Marshall full-stack sound”, at a fraction of the volume.
Pearce reveals that the session’s mantra was: “many sounds are quite good, but could do with more distortion”. The stars of this department were a King of Clone and a Chase Bliss Brothers pedal.
Elsewhere, three-dimensional layers were added by recording two amps simultaneously with different delays. Explains Pearce, “One amp’s pretty much dry and one’s through a characterful delay pedal on a 100 percent wet setting. You pan them hard left and hard right, and it spatializes it.”
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While their pedalboards might be stuffed with toys, the pair keep it simpler when it comes to guitars, and each has one dependable workhorse. Pearce’s is a 1978 Gibson Les Paul Deluxe Goldtop that he had shipped over from the States, while Stokes opts for the more contemporary look and feel of a G&L Tribute Series Fallout with a P-90 in the neck position and humbucker in the bridge.
“I’m a bit of a contrarian,” she laughs, “so it’s nice having a guitar that not many people play.”
- Expert In A Dying Field is out now via Carpark Records.
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Since graduating university with a degree in English, Ellie has spent the last decade working in a variety of media, marketing and live events roles. As well as being a regular contributor to Total Guitar, MusicRadar and GuitarWorld.com, she currently heads up the marketing team of a mid-scale venue in the south-west of England. She started dabbling with guitars around the age of seven and has been borderline obsessed ever since. She has a particular fascination with alternate tunings, is forever hunting for the perfect slide for the smaller-handed guitarist, and derives a sadistic pleasure from bothering her drummer mates with a preference for “f**king wonky” time signatures.
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