On 'I've Loved You For So Long,' the Aces (theacesofficial) write through complex and confident growth to make their brightest and bubbliest album yet. Read our review:
I’ve Loved You For So Long, the Utah fourpiece arrive in typical fashion—exploring queerness amid their growing pains, which inevitably intersect. The album is hypnotically bright and wonderfully self-assured, signaling the band’s COVID-induced metamorphosis.
The group’s growth announces itself most excitingly in the complexity and confidence of their album’s instrumentals. The title track revels in the sunniness of its own sound, reminiscent of beabadoobee’s summery riffs. The result is shimmering and bouncy, an oft-unattainable potion of indie-pop excellence. It’s clear and dancey; hopeful and uncomplicated. It is also totally stuck in my head, and will remain there for the foreseeable future.
On that note, if you’re not looking to catch yourself humming and/or imagining yourself driving sun-drunk down a nondescript oceanside road in a cherry-red convertible, beware of this LP. “Girls Make Me Wanna Die” is near-impossible not to shimmy to in your seat, and “Always Get This Way” has a level of borderline-irritating catchiness reminiscent of The 1975’s mid-career work. It’s a pure, unabashed, indie-pop earworm injected right into your brain, and it is awesome.
“Suburban Blues” is, perhaps, the best example of The Aces’ growth in this region. Its guitar is shoegazey and lush, a hint at the group’s growing musical confidence. In fact, Ramirez and Henderson’s work with the instrument is consistently impressive across the album. A wall of sound—that’s sometimes slightly distorted and delightfully jagged at the edges, sometimes sharp and clear—hits you on the cheeky lamentation “Person.
Holes in the album’s fabric arise from lyrical snafus that, at times, become a bit mind-numbing. It’s hard not to giggle at the cringy singularity of the hyper-poppy opening line on “Solo”—“So stop acting like it’s esoteric to feel this way”—or at the shocking resemblance between “Miserable”’s rather woe-is-me line of inquiry into “Pure innocence / Where does that go? / Will we ever know?” and my middle school diary entries philosophizing on the same issue.
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