Live Review: Gyroscope, The Love Junkies, Graphic Characters

The first layer of our WA club sandwich tonight comes in the form of Graphic Characters, who pound and riff with zero inhibitions.

The start of the set is bluesy and raw – and something of a throwback to more trad pub rock. But when bassist Mark Wallington gets his fingers limber on the frets, the whole sound transports to another level and the room is swallowed by the thickfreakness.

The guitar gets a bit more jagged with The Love Junkies, the robust bass tones breaking up ever so slightly, but those rhythms keep bashing us over the head and the screaming from Mitch McDonald is murderous and without remorse.

Performance-wise, the trio has come into their own in the past year and operates ridiculously tight as a unit. Their grunge jams benefit greatly from the punk energy at the centre of it all – Oxymoron especially getting the full treatment – and when a bit of infectious melody gets stirred into the brew, like on high rotation single, Baby, Come Home, the complete quality is undeniable.

Two tough acts to follow for the headliners tonight, but only a fool would bet against Gyroscope dominating The Brightside stage this evening. The stalwart Perth four-piece have never done this rock’n’roll shit by halves and from the outset it’s clear they’re keen on maintaining the status quo. The guys are celebrating the tenth anniversary of their much loved debut, Sound Shattering Sound, and play it true to the studio recording, with some additional piss and vinegar.

Dan Sanders is his usual volatile self, barking into the microphone one minute, swinging his body and guitar viciously the next. Bassist Brad Campbell even needs to duck for cover during one of Sanders’ many fits. Zok Trivic – fully recovered from a near-fatal motorcycle accident in 2012 – plays his riffs with an undeniable air of cool, while Rob Nassif can’t hide his delight, giving his everything on the kit.

Safe Forever is a monster, as expected; the pit coming alive when the song reaches its climax. The back-up vox in Doctor Doctor apply even more urgency to an already intense song, while the “woo hoos” that ride along with the guitar solo on Get Down are as fun as ever. A big plume of smoke engulfs the stage during final track, You Try Waiting This Long, and for a moment things go Spinal Tap – but it’s a suitable sign-off after what’s been a joyous romp through the album.

A few minutes later, a now shirtless Sanders leads the troops back on stage for a blasting best-of encore – Don’t Look Now But I Think I’m Sweating Blood rolls into Fast Girl – with a killer Oils’ Beds Are Burning section thrown in as a musical rabble-rouser. What Do I Know About Pain?, 1981, Baby, I’m Gettin’ Better and Snakeskin then send the room into a frenzy, Sanders crashes into the drum kit, and the overall feeling, from band to fans, is utterly electric.