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I rarely, for the lack of better terminology, “fall” for a band, but recently, I’ve hit the asphalt hard for a band called Ludo: geek rock flavored with the ol’ synthesizer.

This band kicks ass because it takes on the quirky, possibly insane characters we all know: the creepy, the awkward, the desperate, and heartbroken. It’s all laid out in their brilliantly titled album You’re Awful, I Love You. Yes, at the end of the day, it’s pop rock from possibly three or so more years ago, but it tastes so good going down, and it’s fun to play in the background at a party because it’s like listening to our (possibly your) own woeful stories.

Take a track called Go-Getter Greg. There’s blatant creepiness in subject’s unrelenting attitude, and Ludo manages to maintain musicality and rhythm in the song despite the dialogue-riddled lyrics: “I haven’t seen you at the pool since the barbecue/Not that I’ve been checking/Here’s the deal/I’ve got this thing for work this weekend and I was wondering/If you don’t have anything going on that maybe/Okay, hey that’s cool you’re busy/But we should hit up Jose O’Flannegens for jello shots/Your call/It’s ok not this week/But Monday you could come over tonight/I’ll be watching cop dramas and smoking fatty fatties.” And of course, there’s the matter of the comical chorus, “I’m a go-getter guy with a gun on my hip/I’m just searching for that someone to be firing it…”

Other fabulous songs, Lake Pontchartrain and Drunken Lament, and their epic Love Me Dead. I’ve been told that every guy I’ve ever gone out with is singing this song now. Even funnier is the fact that my current boyfriend is the one who made mention of it. “Kill me romantically/Fill my soul with vomit then ask me for a piece of gum” ; “You’re an office park without any trees/Corporate and cold” ; “You suck so passionately/You’re a parasitic psycho filthy creature/Finger-banging my heart.” And then there are the awesome oxymorons “You’re hideous and sexy” ; “You’re born of a jackal, you’re beautiful” and the album title, “You’re awful, I love you.” The video is undeniably hilarious, and frontman Andrew Volpe proves himself to be one animated guy in this (seemingly…) one-shot production:

Ludo’s recent album kind of sucked balls, Prepare the Preparations (wtf, right?) but it’s possible I didn’t give it enough of a chance after a few run throughs. I was just so awe-struck by the previous album; though, the song Anything For You is a sweet take on the contemporary amorous ballad: “My ancestors planted some sequoias by a road/I’ve driven down that road since I was born/Oh, never have you ever seen so many perfect evergreens/But I would chop them all down just for you” And then “I’ve gotten drunk and shot the breeze with kings of far off lands/They showed me wealth as far as I could see/But their kingdoms seemed all shrively and they cried with jealousy/When I leaned in and told them about you.”

All in all, there is a crispness to Volpe’s voice, purposeful crackling on the high notes, a silliness engrained in the music and lyrics, lots of synthesizer and neurotic moments of self-loathing and unhealthy infatuation, though it’s all done tastefully.

Check them out, you won’t be disappointed, if anything you’ll laugh pretty hard. Happy geek rocking!

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Cross the sounds of The Killers with a dash of Journey, and garnish it with Thursday’s Geoff Rickly (if Geoff Rickly had a British accent that came and went), and you have the independent sensation PK. Every one of their songs is amazing, but three on their full-length album in particular are ones worth checking out first.

What defines a good song? To me, it’s one that retains a bit of musicality in the vocals, lyrics I can personally relate to, and how well the moving parts (bass, drum, and riffs) fit together. PK’s song 1920 is filled with nostalgic and heavy lyrics such as “My brother’s home in the darkness/Oh I remember how she was still/It haunts me in my evenings/Where will this set me in the stars?” This particular song is a great example of a piece that’s melodic but not to the point of being generic or predictable.

My favorite song off their album Into the Roaring is called Roam, which I interpret as this guy pining over his female friend who, like many stereotypical masochistic women, chase after the same asshole time and time again and no matter how many “lessons” they say they “learn,” they still end up in the arms of the next asshole. How could I decipher all of this you ask? In bits and pieces of the lyrics, “Roam/But it’s never going to change your ways/No, it just won’t change a thing/I know I’m never going to break your heart/Roam/Till it leaves you feeling old/But he’s never going to take you home.”

London is upbeat, a story perhaps of an overseas affair, told through lyrics that are terribly romantic without being cliché or tacky: “It takes me back to my hometown/My first kiss/Down under oak trees/Does it take you back to your chateau/Or Marseilles down on the seaside/It takes me back to my hometown/When you kiss me/I feel the whole train shake.” The music is a bit on the poppy side, the chorus sounds like popcorn might if it was exploding out of a drum set, but it works, and the bass line grants the quieter parts justice without overkill, and it’s all this that makes me believe this is PK at its finest. “’Cause it ain’t never felt like this/I swear I’m not fooling/Yeah, you floored me/Why I’ve never had a kiss like yours/I’m drunk still.”

They have multiple acoustic videos online, one of Roam

and another of 1920 brilliantly shot in the middle of a moving elevator 

and their music video of London, a one-shot production of Hawley migrating through the caverns of a train

To top it off, they are giving away their full-length album Into the Roaring for free at their website: http://www.pkband.com/ Keep a look out for their EP soon to be released. It’s one that I look forward to most in 2011.

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