Home arrow Tales From The Moshpit arrow How I Became the Bomb; Young Orchids; Sealions @ 529, 8/11/09
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How I Became the Bomb; Young Orchids; Sealions @ 529, 8/11/09 PDF Print E-mail
Written by Jhoni Jackson   
Sealions opened the night with a blend of a bassy instrumental track into the danceable "Bellwether," creating a mix that well represents the rest of the band's repertoire. Electronic pop beats behind echoing vocals make for a thoroughly '80s sound, but the trio's melodies are fresh, catchy and often moody. The borderline blasé, drawn out vocals from both Jason Travis and Joey Patino attach a depressing feel to the music - like you might feel bad for dancing along if you listened to the lyrics. The show was more serious than energetic with all three musicians relatively stone-faced throughout, but the lack of expression allowed for a calm but engaging set.

Young Orchids played to an almost all female crowd who seemed to be in a perpetual state of aesthetic awe as singer Kyle Gordon swayed, shimmied and strutted on a small but Jagger-style scale. It wasn't just Gordon, however, that had the girls swooning. Young Orchids' brand of fuzzy garage-rock seems based in '50s sock-hop slow dances – the songs are catchy in a sweet, gentle way, and many seem to be about girls. Balanced by Gordon's raspy vocals, however, the sound isn't overwhelmingly sugary. The band played most of their recent self-recorded and released EP, Take One in addition to several unreleased songs.

While local bands Sealions and Young Orchids are currently recording their first full-length albums, Nashville's How I Became the Bomb have recently released Deadly Art, a collection of re-recorded work, rarities and new material. The album is free to download from the band's web site, and it seems many fans took advantage of that convenience – when the hyper electro-pop commenced, the crowd immediately livened up considerably.

Charmingly goofy, theatrically eccentric lead singer Jon Burr gestured through "Harvest" (first released on Through Adversity to the Stars, the fourth EP in a series), pointing to his watch and repeating "There Isn't Time" while the crowd danced along. The five-piece band, sort of dressed like wealthy bowling alley patrons from the '70s, was in high-energy mode for every song, and the dance party energy exuding from the stage seemed to increase as the set progressed. "Killing Machine," a danceable but slightly slower, presumably anti-military song from 2006's Let's Go! didn't hamper the crowd's enthusiasm. The crowd even maintained its fervor for the debut of a new song, though it probably helped that the hook was so catchy it was instantly memorable. Near the end of the set, the band gave Elvis Presley's "Suspicious Minds" their trademark electro-pop treatment – extravagant gestures and all – and almost everyone sang along loudly. Throughout the show, the animated band danced wildly and Burr made use of every inch of 529's stage. The audience-demanded encore (the very '80s and lyrically hilarious "Fat Girls Talkin' 'Bout Cardio," another Let's Go! track) quickly spun into an all-out party, as off-key fans shared the microphone and more than just Burr pogoed with delight.
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