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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.\u003c\/p\u003e\n\u003cp\u003eThough 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.\u003c\/p\u003e\n\u003cp\u003eBesides 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.\u003c\/p\u003e\n\u003cp\u003eWhile 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.\u003c\/p\u003e\n\u003cp\u003eTrack Listing:\u003cbr\u003e\u003cbr\u003e1. I Am Dog Now\u003cbr\u003e2. Shame\u003cbr\u003e3. Frownland\u003cbr\u003e4. Funny Man\u003cbr\u003e5. Camcorder\u003cbr\u003e6. Tape\u003cbr\u003e7. The New World\u003cbr\u003e8. Masc\u003cbr\u003e9. Milk of Human Kindness\u003cbr\u003e10. 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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.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHaving 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.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn 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 .\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eTrack Listing:\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e1. Slaughterhouse\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. 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In the context of a\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChat Pile\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003erecord, 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. “\u003cem\u003eCool World\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecovers 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\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eRaygun Busch\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThough very much on-brand with\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChat Pile\u003c\/strong\u003e’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCool World\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003enot 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\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGod’s Country\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eto still capture the immediate, uncompromising essence of\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChat Pile\u003c\/strong\u003e, we also knew that with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCool World\u003c\/em\u003e, 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\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChat Pile\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003esound,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCool World\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis also the band’s first record to have someone else handle mixing duties, with\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBen Greenberg\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eof\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eUniform\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cstrong\u003eAlgiers, Drab Majesty, Metz\u003c\/strong\u003e) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.\u003c\/p\u003e\n\u003cp\u003eThe proverbial thread tying all of the experimentation on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCool World\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003etogether is the depth to which\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChat Pile\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003edissects 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”,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCool World\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis an apocalyptically bleak record. 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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. 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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”,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCool World\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis an apocalyptically bleak record. Sure,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChat Pile\u003c\/strong\u003e’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChat Pile\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003edepicts on\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCool World\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis 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.\u003c\/p\u003e\n\u003cp\u003e“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 –\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCool World\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis about the price at which we eat sugar in America.”\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCool World\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewill be released via The Flenser on October 11, 2024.\u003c\/p\u003e","brand":"Imprint Merch","offers":[{"title":"Default Title","offer_id":45212435447996,"sku":"CHATPILE_0004","price":27.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0252\/8378\/8880\/files\/CHATPILECOOLWORLDCD.png?v=1758070627"},{"product_id":"chat-pile-live-at-roadburn-2023-lp","title":"Chat Pile - \"Live At Roadburn\" 2023 LP","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBefore Chat Pile took on sold out tours and widespread critical acclaim, they played Roadburn 2023, their biggest show to date, in front of a packed room of 3,000 on the festival's main stage. 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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. \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eDespite 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. \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIn 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. 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