Austin-based Mark Deutrom and North Carolinians The Asound team up for a split 7″ released through Tsuguri Records, the imprint helmed by Asound bassist Jon Cox. One track from each outfit is included, Deutrom — who has a new band going called Bellringer (more on them to come) and has collaborated with no shortage of others but is probably best known for playing bass in the Melvins during their Stoner Witch era — tossing in a quick, punkish burst of an A-side in “Mini-Skirt,” while The Asound let their riffs breathe a little more on side B with “The Chief of Thieves,” a steady roll captured raw and suited to the 7″ form. Sound-wise, it’s not so different from their recent live split with Lenoir Swingers Club (review here), but the output is clear enough to indicate a studio recording, even if it’s one still punk enough to warrant the black and while cover art on the 7″ sleeve — a traditionalism well suited to both inclusions.
Deutrom reportedly recorded “Mini-Skirt” at the same time he tracked the jazzy solo offering Brief Sensuality and Western Violence (review here), and with Aaron Lack on drums, what might’ve been left off the record on account of not fitting sonically earns a distinctive place here via thickened shuffle and unceasing forward motion. Easy enough to be reminded of Butthole Surfers and the Melvins both, but “Mini-Skirt” makes its point in the unflinching, almost garage-sounding nature and in its quick-turning solo culmination. Where the record from whence it doesn’t come was a headier affair, “Mini-Skirt” is simple and decidedly anti-progressive, a sprint put to tape. It contrasts effectively with The Asound‘s “The Chief of Thieves,” which keeps to a slower pace, but the two find common ground in their rougher-edged production an in the density of their tones, the fervency of their crash and the efficiency with which they deal out their riffing.
Guitarist/vocalist Chad Wyrick leads the proceedings for The Asound, with Cox and drummer Michael Crump following the lurching groove set by the guitars more or less for the duration. It’s a riff worth basing a song around, and even the solo section in the second half seems to base its rhythm around that same movement, the vocals by then having dropped out to let the band get to the heart of the matter. No question the B-side is longer than the A, but in the context of what they’re doing, Wyrick‘s singing over the wailing distortion recalling some of Floor‘s appeal in combining doom and more accessible sonic forms, I don’t think I’d call “The Chief of Thieves” less productive than its companion, only going for — and, I’d argue, hitting the mark — on a different side of the same style. The Asound end after all that rolling on a quick-fading feedback that calls to mind the constraints of the format. That is, there’s nothing sonically to make me think that riff couldn’t have gone on another seven minutes or so.
But then it would be an entirely different kind of release — and Deutrom would probably need more than one song — so I’ll instead take the tight-packed grooves on the platter itself to stand as a visual metaphor for what “The Chief of Thieves” has to offer during playback. The 7″ is limited to 200 copies in green or black vinyl, and while it might be a stopgap for both parties concerned, it also asks next to no indulgence on the part of its audience and easily proves worth the time it takes to listen.