Review: Chat Pile ‘Who Loves The Sun’
I have fond memories of Oklahoma City, having worked there back in the summer of 1999, coaching the correct version of football. Sadly, for me, Devon Tower, which adorns the front cover of Chat Pile’s latest record, wasn’t built then, however, the image is a fair representation of a city full of promise yet desolate and isolated – The Texans view of the state can’t be printed, but that’s for another time.
Being drawn into the world of Chat Pile doesn’t mean being drawn into all that Oklahoma represents, yet it helps to understand them as a band as they rip away the flesh of this decaying planet. They have that raw, innovative edge whilst battling against the blight of AI dross and on Who Loves The Sun, their third album, they have drawn on indie/alt-rock/new wave influences from a bygone era, all starting with Creature.
It has a lovely bass sound from Stin, as Ray B. builds up his vocals with that aggressive edge he’s become known for. For me, it has a Nine Inch Nails feel to it, which is no bad thing, but it sets the standard for the others to follow. As with the rest of the album, the songs are angry and confrontational, with lyrics such as ‘The time to act is now’ on Deep Blue as they dissect the misery of living in the 21st century.
They’re certainly upping the stakes somewhat on this album as it’s more cathartic and coarser…
This new sound has been developed due to all members of the band listening to an array of different music, as guitarist L. Manhole explains, ‘one of the most fun puzzles in writing music is figuring out how to take influences from really disparate things or genres’. You suddenly get a trip-hop beat that underpins the haunting lyrics of isolation on Same Rules, which leads into the crushing and menacing delivery of PEN I S MALL, a song that lyrically builds on the dread of working a dead-end job with no hope in sight. They’re certainly upping the stakes somewhat on this album as it’s more cathartic and coarser, with Cap’n Ron delivering a devastating drum performance throughout.
Shrine starts all cagey, but soon detonates with an energy and passion, before returning to a calm, settled pattern. The juxtaposition of tempos works well set against the background of dreaming and grief, with a different arrangement being explored on Intruder. The vocal harmonies are enhanced here with Nightosphere vocalists Claire Hannah and Brittany Sawtelle, adding a softer edge, whereas there’s a menacing, eerie start to Christabel ‘26 which is threatening, intimidating, and sung with real intent.
Influence sees the return of Hannah and Sawtelle on vocals, elevating the hooks with added drama and tension, but the bass is huge on this one, beastly almost, with the combustible guitars experimenting and pushing in all manner of different directions. Family Funeral has a genuine demonic feel to it, with the vocal delivery around the chorus being particularly ghoulish and spooky. It has a new wave, late ‘80s tone to it, which I really like, and leads into the final track, October All The Time, which is the complete opposite: gently strummed guitars, crooning vocals, and delivered in a timely manner. Stin commented that ‘people all over the world are resonating with what we have to say’; this album is proof and will connect with many, many more.
Label: The Flenser
Band Links: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Matthew Williams
