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\u2019s music is a poignant reminder of that shift \u2013 a portrait of an American rock band molded by a society defined by its cold and cruel power systems.<\/p>\n\n\n\n
Besides being the name of a largely forgotten (and panned) 90s film, Cool World makes for an apt title of Chat Pile\u2019s 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\u2019s previous work, moving the scope of its depiction of modern malaise from just \u201cGod\u2019s country\u201d to the entirety of humankind. \u201cCool 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,\u201d says vocalist Raygun Busch.<\/p>\n\n\n\n
Though very much on-brand with Chat Pile\u2019s signature flavor of cacophonous, sludgy noise rock, the band\u2019s 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\u2019s core theme of violence. Melded into the band\u2019s 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\u2019s ten tracks. \u201cWhile we wanted our follow-up to God\u2019s Country to still capture the immediate, uncompromising essence of Chat Pile, we also knew that with Cool World, we\u2019d want to stretch the definition of our \u201csound\u201d to reflect our tastes beyond just noise rock territory,\u201d reflects bassist Stin. \u201cNow 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.\u201d Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band\u2019s first record to have someone else handle mixing duties, with Ben Greenberg of Uniform (Algiers, Drab Majesty, Metz) capturing and further amplifying the quartet\u2019s unmistakably outsider and folk-art edge.<\/p>\n\n\n\n
The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album\u2019s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks \u201cCamcorder\u201d and \u201cTape\u201d, the diminishment of crimes against humanity by way of foreign policy and colonialism on \u201cShame\u201d, or the mental anguish of hopelessness on \u201cThe New World\u201d, Cool World is an apocalyptically bleak record. Sure, Chat Pile\u2019s debut album was plenty disturbing with its B-movie-inspired interpretation of a \u201creal American horror story\u201d; 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\u2019s mind for how close the horrors depicted mirror reality.<\/p>\n\n\n\n
\u201cIf I had to describe the album in one sentence,\u201d explains Busch, \u201cIt\u2019s hard not to borrow from Voltaire, so I won\u2019t resist \u2013 Cool World is about the price at which we eat sugar in America.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
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 […]<\/p>\n","protected":false},"author":1,"featured_media":7658,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"audio","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[18],"tags":[1451,1452,855,1254,172],"class_list":["post-7657","post","type-post","status-publish","format-audio","has-post-thumbnail","hentry","category-music","tag-chat-pile","tag-death-metal","tag-hardcore","tag-industrial","tag-metal","post_format-post-format-audio"],"yoast_head":"\n