When The Sketch opens, I find myself quickly thinking of “Got The Time” by Joe Jackson. For the most part, that comparison fades by the time the power chords kick in at 10 seconds, but I also bring it up because (at least in my mind) that’s a classic track that doesn’t get enough fanfare. No artist wants constant “sounds like” references, but this is a good one. I don’t want to overdo the comparison thing, but what Gus Baldwin & The Sketch seems to have in common with that particular song is a blend of memorable guitar riffs that balances with a bouncy rhythm section. There’s a peppy but unpredictable influence drawing from both new wave and angular post-punk, mixed with more melodic, guitar-driven punk and garage rock. Add a dose of The Hives and the New York Dolls, perhaps a pinch of Butthole Surfers and you’re on the right track. There are some pedal-heavy psychedelic moments peppered within, but it’s mostly fast and to-the-point rock ‘n’ roll with swagger.
I would describe The Sketch as punk rock in terms of energy and tempo, but I get a fair amount of new wave vibes that kind of run through as an undercurrent. Besides the lead track, I’ll cite “Steady On It,” which blends power chords with some Blag Flag finger work for an anxious staccato effect with a shoutalong refrain. Instead of call-and-response vocals, it’s essentially call-and-response guitar and it works great in a two-minute blast. Meanwhile, “Itch” is more of a punk burner with more aggression and urgency. On the other wise, the 90-second “Delilah” is like a ballad played at 45rpm -- melodic and kinda pretty, but hyper caffeinated. The record is nicely structured, beginning with the anxious tunes, then a punker section in the middle, then expanding the breadth a bit toward the end.
Baldwin’s vocals hit mostly the same key throughout and I’d say the same for the guitar tones. There is a sense of controlled chaos, and it’s a formula that’s effective but also is best limited to short doses – The Sketch is a really nice debut, and I think that’s in part because it’s only thirty minutes, understanding that the energy would fade if it went much longer. On record, that is. Based on the press bio and the fact that Gus is brave enough to slap his name on the marquee, I get the impression this packs twice the punch live. He previously played with Sealion and Acid Carousel, as well as collabs with The Black Angels. The bio described Baldwin as an ex-hippie turned punk from Austin, TX -- if I want to add stereotyping to my list of offenses in this reference-heavy review, I’ll add that it sounds like art school dropout punk (meant kindly).
