Alkaline Trio - Maybe I'll Catch Fire

This is probably the least musically relevant thing I've ever utilized as an introduction, but it's something that just now crept out from my periphery: have you noticed that, like, 70% of the female populace between the ages of 16 and 35 are clad in membrane-snug black tights? They're probably the most revealing garment I've ever seen achieve this kind of homogeneity, especially when worn as a pants-substitute. To clarify, I don't intend this as a blue-balled, prudish/misogynist jab at women, as I understand almost everyone, regardless of sex, is caught somewhere in the fashion undertow, but I can't help but raise an eyebrow at how widespread this shit is. It's like a nationwide showcase of ass at the molecular level.

Anyway, to start, the handful of somewhat ambiguous jabs I've penned about Alkaline Trio in the past still stand. They are, and probably always will be, complete cornballs of the "dark" and angst-laden persuasion with lyrics that curdle milk. In fact, I could probably lambaste them in the same light as The Gaslight Anthem, who I dissed several months ago for their similarly laughable (albeit totally different) lyricism. Just like the aforementioned band, though, I've gone through a cycle of acceptance with Alkaline Trio illustrated below:
1.) Infatuation
2.) Light criticism of thematic elements/lyrics
3.) Total disdain and/or embarrassment followed by abandonment
4.) Re-visitation and light criticism
5.) Love of the material with a tongue planted firmly in cheek
And yeah, Maybe I'll Catch Fire is an album I really love, regardless of how fucking silly and un-relateable the lyrics are. Alkaline Trio are one of the most well-known branches of the Slapstick family tree and are a (duh) trio comprised of Dan Adriano of Tuesday, Slapstick, and eventually The Falcon, Matt Skiba (who's also in the unheard-by-me band Heavens), and Derek Grant, previously of The Suicide Machines and a zillion other bands.
This album is their sophomore effort, and the follow-up to 1998's excellent debut (except the two putrid acoustic tracks), Goddamnit. I can't remember exactly, but I'm pretty sure this is the band's most popular album, if not just for the band's staple encore song, "Radio", but it's definitely mine. The songwriting here is really strong, and less raw and bass-y than their first album, with the general pace slowed down to allow the melodies to really develop. I wouldn't call this an indie rock album, exactly, as tracks like "5-3 10-4", "She Took Him To The Lake", and "Madam Me" truck it pretty hard, but there's a distinct adaptation of a more rock-esque format here. Unlike almost every pop-punk band of the past 10 years, the dual vocal approach is considerably reserved, which makes the harmonies stand out a lot, especially in "You Got So Far To Go", which is easily one the album's best tracks next to "5-3 10-4", the dark-warmth of "Sleepyhead", and the refreshingly non-accusatory "She Took Him To The Lake". The latter's got a pretty typical theme of heartbreak, but despite the male described being abandoned, blame never gets heaped on the girl for being a vicious heartstomping witch or whatever bullshit you'd find in virtually every Descendents song.

http://www.mediafire.com/?fmey4i4jyym

In conclusion, I'm tired of sitting at the computer writing this. Also, if you've got a bias against this band due to their cheesy, "gawthic" image or perceived "emo-ness", try to ignore the lyrics. The music itself, vocals included, make for a really great package, and even the imagery's pretty vivid and satisfying once you stop taking it seriously. I guess I should probably mention "Radio", though, since everyone loves that song: it's pretty good. Unfortunately, it also contains the line “shaking like a dog shitting razor blades".
Hm.