In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates 'Who Loves The Sun', their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about 'Who Loves The Sun' feels synthetic.
Whereas their debut album 'God’s Country' depicted a particularly American flavor of dread, and the follow up 'Cool World' showed a cruel planet defined by global systemic violence, 'Who Loves The Sun' peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse.
As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of 'Who Loves The Sun' is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground.
The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of 'Christabel ’26' to the eerie trip-hop pulse of 'Same Rules', 'Who Loves The Sun' is deeply human despite its allusions to a dying, divided .
Whereas their debut album 'God’s Country' depicted a particularly American flavor of dread, and the follow up 'Cool World' showed a cruel planet defined by global systemic violence, 'Who Loves The Sun' peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse.
As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of 'Who Loves The Sun' is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground.
The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of 'Christabel ’26' to the eerie trip-hop pulse of 'Same Rules', 'Who Loves The Sun' is deeply human despite its allusions to a dying, divided .
STAFF COMMENTS
Barry says: Another dissonant, throbbing slab of mayhem from Chat Pile, swimming with glumness and absolutely brimming with chug. This time round, the grind factor is cranked up to 11, and it's a perfectly fitting place for Chat Pile to sit. For me, the perfect fusion of modern hardcore and noise metal.TRACK LISTING
1. Creature
2. Deep Blue
3. Same Rules
4. PEN I S MALL
5. Shrine
6. Intruder
7. Christabel ’26
8. Influence
9. Family Funeral
10. October All the Time
