Darker With The Day

This morning's episode features an interview with Eugene S. Robinson of Buñuel and formerly of Whipping Boy and Oxbow. Buñuel's latest album, Mansuetude, is due out October 25th on Skin Graft Records.

Plus the following review, featured just prior to Funny Man by Chat Pile.

Chat Pile: Cool World (The Flenser)

Released 11th October, 2024

Toxic and ugly, a chat pile is a type of mining waste: huge mounds of rock fragments rejected in the process of lead-zinc mining. Often repurposed as gravel and used in the production of concrete, roads and railway ballast, the high levels of lead present in the chat often pose a health risk to humans and other living organisms in their vicinity. There’s a revolting heaviness to the term, an element of unease and discomfort that turns the stomach and tightens the bowels, making it an apt choice for the Oklahoma City band of the same name.

Owing much to underground trailblazers such as The Jesus Lizard, Big Black and Killdozer, Chat Pile have been active since 2019. Their blend of nu-metal, sludge and noise-rock, coupled with constant touring, has won them a dedicated legion of fans; despite the abrasive nature of their music and the difficult subject matter of their lyrics. In 2020 they signed to San Francisco label The Flenser, joining the ranks of artists such as Agriculture, Mamaleek and Ragana who are openly challenging the preconceived notions of “heavy” music. Cool World is the group’s second full-length and the follow-up to God’s Country, their critically acclaimed debut album.

Cool World’s release was preceded by three singles, I am Dog Now, Masc and Funny Man. Each one is a brutal statement of intent, unchained and unleashed upon the public with the express purpose of informing their audience that Chat Pile’s songwriting is as savage as ever. Funny Man is a particularly ferocious example, pummelling the listener from the first second, and right up until the last.

Chat Pile make no secret of their love of late nineties nu-metal and this influence is particularly apparent throughout Cool World. Frownland’s bass intro channels the best moments from Korn’s first album, whilst both Shame and Masc channel the melodic peaks of Deftones. Crucially, Chat Pile manages to borrow from these sources without being overly reverential or even particularly obvious.

Strangely, for a band that could be politely described as an “acquired taste,” Chat Pile’s star is rapidly rising. Drummer Stin even indicated in a recent interview that they can (almost) afford to quit their day jobs. Bands as extreme as Chat Pile rarely get an opportunity to exist beyond the margins, especially given their predilection for documenting the darker aspects of society. Remarkably, it appears the world is ready to embrace Chat Pile, warts and all and —perhaps even more surprisingly— on their own terms.

Nick Stephan