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Candy makes their full-length, Relapse Records debut with their highly anticipated new album "Heaven is Here." Candy specifically strives to replicate moments of impact and anxiety, obsessive-compulsive thinking, and extreme cynicism - aiming to provide the listener with an aural journey that allows for an outlet for these overwhelming feelings. Ebbs and flows of harsh noise collide with elements of electronic music making it clear that Candy is a beast of its own.

Track Listing:

1. Human Condition Above Human Opinion
2. Mutilation
3. Heaven Is Here
4. Price Of Utopia
5. Transcend To Wet
6. Hysteric Bliss
7. World Of Shit
8. Fantasy/Greed
9. Kinesthesia
10. Perverse

Last Ride Records Australian exclusive colour of the Candy LP from Relapse Records.

CANDY return with their new album, It's Inside You. A brazen take on hardcore, metal, and disparate electronics and experimental soundscapes, It's Inside You sees CANDY take another step forward with a compelling, extreme, and one-of-a-kind take on the genre.

From the frenzied album opener "eXisTenZ", CANDY's intent is clear; It's Inside You kicks off as violently as possible. Cited as thriving in "this jumble of gothic industrial and digitized metal" by Pitchfork, the single minute, thirty-second track twists and turns as a contorted thesis statement for what will follow. Tracks like "Dehumanize Me" continue this trend, establishing an interplay between ferocious hardcore stomps helmed by guitarist Michael Quick, with pulse-pounding, electronic rhythms set against this monstrous riffing. "Dreams Less Sweet" crashes and bashes onto the record, while vocalist Zachary Quiram mourns the modern condition: "dreams laid dead/stuck grieving/how do you fight the feeling?/are we living in a world just to die?"

Elsewhere on the record, tracks like "Love Like Snow" showcase a different side of the band. Electronic, mechanical melodies are set against desperate cries for human connection. It's Inside You flexes more than just muscular Hardcore brutality. "Dancing to the Infinite Beat" and "Hypercore" also see raw emotion laid bare against frenetic, electronic punishment before crescendoing into cathartic, ear-worm choruses.

Track listing:

1. eXisTenZ
2. Short Circuit
3. You Will Never Get Me
4. It's Inside You
5. Love Like Snow
6. Dehumanize Me
7. Faith 91
8. Terror Management
9. Dreams Less Sweet
10. Silent Collapse
11. Dancing To The Infinite Beat
12. Hypercore

Candy Hearts were a New Jersey based pop punk band formed at the tail end of the 00’s and fronted by singer-songwriter Mariel Loveland. Best described as empathetic tragedies channeled through '90s alternative-soaked pop-rock, Candy Hearts did downtrodden and heavily introspective sentiments with bubbly, hook-filled inclinations like no other.

Their sophomore LP 'All The Ways You Let Me Down' was produced by Chad Gilbert (New Found Glory) and ranked by Billboard as one of the best pop albums of 2014.

Although they toured with pop punk heavyweights like Set It Off, Real Friends and The Story So Far as well as some stints on Vans Warped Tour, Candy Hearts have always aimed for ‘ Taylor Swift meets the Breeders’.

‘You Could Be Anyone’ is a collection of B-sides and rarities from 2010-2016, marking the 10 year anniversary of ‘All The Ways You Let Me Down’. Mastered By Jack Shirley at The Atomic Garden, ‘You Could Be Anyone’ is limited to 100 cassettes in purple tint. Candy Hearts will be reuniting to mark the anniversary at Fest in Gainesville this October. Although a decade has passed the message is still as clear and honest as possible to both fans and themselves. "I've always wanted this band to be completely true to ourselves," Loveland says, "That's just what our band has always been about."

Track Listing:
01. In & Out (Acoustic)
02. Anything
03. Last Summer
04. What You Want
05. Hiding From My Friends
06. I Want You
07. Tongue Tied (Acoustic)
08. Flashers Flashing
09. Cracks Beneath Closed Doors
10. Top Of Our Lungs (Acoustic)
11. Something’s Missing (Acoustic)
12. February 4th (Demo)
13. Maybe
14. Brooklyn Bridge (Acoustic)
15. Red Balloon
16. Things We Hate
17. Size of the Moon

Pressing Info:

First Press:
100 x Purple Tint Cassette

The sprawling expanse of the American heartland is many things: picturesque as it is desolate, familiar as it is alien. Very few settings manage to capture such contrasting characteristics in equal measure, so it’s no wonder that the endless roads and forgotten towns of the deep countryside are practically synonymous with the general concept of a “post-apocalypse”. Although there’s a bleak horror to the rural decay of “Flyover Country,” there’s a tragic beauty in its stillness, something which OKC noise rockers Chat Pile and Texas-raised, Oklahoma-based fingerpicking guitarist and composer Hayden Pedigo masterfully capture on In the Earth Again. 

Despite their works occupying what seems like completely opposite ends of the genre and tonal spectrum, Hayden Pedigo and Chat Pile’s Captain Ron, Luther Manhole, Raygun Busch, and Stin radiate a genuine synergy with one another that extends far beyond their music. Rather than alternating between moments where either the quartet’s signature sludgy beatdown of noise rock and Hayden’s Fahey-esque guitar soundscapes individually shine, In the Earth Again sees both Chat Pile and Hayden Pedigo explore latent yet previously untapped aspects of their sounds. For Chat Pile, this meant an opportunity to explore moodier arrangements, indulge in sample and tape manipulation, and pen among the most sincere and personal lyrics in their entire discography. In Hayden’s case, this collaboration enabled the visionary guitarist to translate the masterful craft of his typically tranquil, deep country soundscapes into something more sinister, tinged with a visceral, metallic grit that is no less evocative on a sensory level than their solo material. 

In the Earth Again presents a portrait of societal decay, characterized by the brutality of the active apocalypse and the eerie stillness that follows in its wake. Throughout its entire thirty-six-minute runtime, In the Earth Again cycles between rustic tones, snarling aggression, and crescendos of tragic catharsis. While depicting a dying world comes off as exactly the type of thematic framework to expect from Chat Pile, Hayden’s presence as a coequal creative force on In the Earth Again makes the end result stand out as a pivotal chapter in each of their discographies.

In the Earth Again will be released on October 31, 2025 through The Flenser and will be offered in multiple editions featuring cover art by Malcolm Byers.

Track Listing:

1. Outside 
2. Demon Time
3. Never Say Die!
4. Behold a Pale Horse
5. The Magic of the World
6. Fission/Fusion
7. The Matador
8. I Got My Own Blunt to Smoke
9. Radioactive Dreams
10. Inside
11. A Tear for Lucas

Printed on Gildan Ultra Cotton (2400) Long Sleeve T-Shirt

203g/㎡
100% US Cotton
Classic fit tubular body
Classic heavyweight fabric
2.22cm rib collar
Double-needle bottom hem
Grey pearlized tear away label
Rib cuffs
Taped neck and shoulders

Model is 190cm and wearing size Large

Printed on Gildan Heavy Cotton (5400) Long Sleeve T-Shirt

180g/㎡
100% US Cotton
Classic fit tubular body and midweight fabric
2.22cm rib collar
Double-needle bottom hem
Grey pearlized tear away label
Rib cuffs
Taped neck and shoulders

Model is 175cm and wearing size Large

Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems.

Besides being the name of a largely forgotten (and panned) 90s film, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album, except now exploded from a micro to macro scale, with thoughts specifically about disasters abroad, at home, and how they affect one another,” says vocalist Raygun Busch.

Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate, uncompromising essence of Chat Pile, we also knew that with Cool World, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg of Uniform (Algiers, Drab Majesty, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.

The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”, or the mental anguish of hopelessness on “The New World”, Cool World is an apocalyptically bleak record. Sure, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

“If I had to describe the album in one sentence,” explains Busch, “It’s hard not to borrow from Voltaire, so I won’t resist – Cool World is about the price at which we eat sugar in America.”

Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems.

Besides being the name of a largely forgotten (and panned) 90s film, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album, except now exploded from a micro to macro scale, with thoughts specifically about disasters abroad, at home, and how they affect one another,” says vocalist Raygun Busch.

Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate, uncompromising essence of Chat Pile, we also knew that with Cool World, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg of Uniform (Algiers, Drab Majesty, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.

The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”, or the mental anguish of hopelessness on “The New World”, Cool World is an apocalyptically bleak record. Sure, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

“If I had to describe the album in one sentence,” explains Busch, “It’s hard not to borrow from Voltaire, so I won’t resist – Cool World is about the price at which we eat sugar in America.”

Cool World will be released via The Flenser on October 11, 2024.

Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has stuck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems.

Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks.

Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.

While Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

Track Listing:

1. I Am Dog Now
2. Shame
3. Frownland
4. Funny Man
5. Camcorder
6. Tape
7. The New World
8. Masc
9. Milk of Human Kindness
10. No Way Out

4 inch x 4 inch vinyl weather proof sticker with rounded edges featuring the Cool World album cover.

Screen-printed "Crash" design on canvas tote bags.

Artwork by Alison Dozen.

There’s a sick irony to how a country that extols rhetoric of individual freedom, in the same gasp, has no problem commodifying human life as if it were meat to feed the insatiable hunger of capitalism. If this is American nihilism taken to its absolute zenith, then God’s Country, the first full length record from Oklahoma City noise rock quartet Chat Pile is the aural embodiment of such a concept.

Having lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of Chat Pile, and especially so on its debut LP. Exasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” God’s Country is as much of an acknowledgement of the Earth’s most assured demise as it is a snarling violent act of defiance against it. Within its over 40 minute runtime, God’s Country displays both Chat Pile’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, Tenkiller. In the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its own terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like. God’s Country is out via The Flenser.

In just a couple of years, Oklahoma City’s Chat Pile has made nothing short of a profound impression on the underground music discourse. Formed in the spring of 2019 by Raygun Busch (vocals), Luther Manhole (Guitar), Stin (Bass), and Captain Ron (Drums), the noise-rock quartet would release two EPs that same year, titled This Dungeon Earth and Remove Your Skin Please respectively. Spurred on by both a hearty run of live performances and a swiftly growing online fanbase, Chat Pile became a staple name among its genre contemporaries thanks to its hellish synthesis of noise rock, sludge, industrial, and mid 90’s nu-metal. In 2020, the band would sign with San Francisco underground music label, The Flenser, to put out its upcoming full length debut. That following year, Chat Pile kept its roll going, with accolades including composing the score for the indie film, Tenkiller, as well as releasing a 7” split with portrayal of guilt in the summer. Despite its creation only a couple of years ago, Chat Pile has already played alongside a number of acclaimed underground acts, including Street Sects, portrayal of guilt, Psychic Graveyard and Distorted Pony.