Chat Pile : Cool World Review
by Steven Miller
Oklahoma City’s Chat Pile have always embraced chaos, but Cool World, their sophomore album, takes the visceral cacophony they introduced in God’s Country and pushes it into a realm that’s even more unsettling and thematically expansive. If their debut honed in on the personal horrors of addiction, industrial collapse, and the existential decay of “God’s country,” Cool World expands the lens to capture humanity’s collective violence, exposing how systems of power grind down the individual on a global scale.
The album’s title, Cool World, may initially seem like a nod to the 1992 animated film, but in Chat Pile’s thematic narrative, it drips with grim irony. Here, “cool” doesn’t mean detached indifference but the cold, calculated systems that perpetuate violence and exploitation. The album dissects these themes with brutal honesty, reflecting a world where suffering and despair are cyclical and inescapable. From the dehumanizing effects of foreign policy and war in “Shame” to the voyeuristic consumption of violence in “Camcorder” and “Tape,” the band paints a harrowing picture of modern malaise.
Vocalist Raygun Busch’s interpretation of violence extends beyond the tangible to the psychological and emotional realms. The lyrical themes of Cool World delve into systemic trauma and the ways in which society is complicit in perpetuating cycles of violence. Busch’s haunting delivery on “Tape” captures the tormenting process of witnessing these atrocities, while “The New World” speaks to the mental anguish that comes with realizing humanity’s inevitable decline.
Musically, Cool World feels like a natural evolution for Chat Pile. While they remain firmly rooted in the sludgy, noise-rock sound that made God’s Country so effective, this album sees the band exploring new territory. Tracks like “I Am Dog Now” and “Frownland” introduce elements of grunge and alt-metal, pulling influence from bands like Nirvana and Screaming Trees but infusing them with a suffocating heaviness. These tracks grind with mechanical precision, evoking the sound of malfunctioning machinery underscored by dissonant chords, a signature Chat Pile move that remains unsettling and mesmerizing.
“Shame” has a blending of post-punk disaffection and guttural death metal growls, showcasing the band’s ability to seamlessly shift between genres. The eerie, gothic tone that creeps through the album lends it a cinematic quality, with Busch’s vocal delivery amplifying the feeling of being trapped in an unending nightmare. Tracks like “Funny Man” highlight this blend of styles, with its galloping rhythms and vivid storytelling adding a twisted narrative layer to the album’s exploration of generational trauma.
Ben Greenberg’s involvement in mixing Cool World gives the album an added edge, capturing the raw, outsider-art vibe while enhancing the band’s eclectic sound palette. His work on albums by Metz and Algiers is evident here, particularly in how the quieter, more atmospheric moments of the record contrast with the abrasive, jarring intensity of the heavier sections.
Lyrically, Cool World offers the same brutal directness we’ve come to expect from Chat Pile, but with a more poetic and abstract approach. “Funny Man,” for example, delves into feelings of servitude and sacrifice, but Busch’s fragmented imagery invites listeners to fill in the gaps, making the song’s message more potent. The repeated refrain of “Caged life, caged hurt, passed down, past earth” in the track is emblematic of the band’s focus on intergenerational suffering and trauma—a theme that ripples throughout the album.
The pairing of “Camcorder” and “Tape” in the middle of the album provides a narrative thread that elevates Cool World beyond its predecessor. Both tracks deal with the horrors of voyeurism and the ways in which violence is recorded, consumed, and normalized. “They made tapes!” Busch screams in “Tape,” his voice straining with anguish. These two tracks serve as a chilling reminder of how atrocities are documented and shared in the modern world, reducing unspeakable acts to just another form of media consumption.
While Cool World is relentless in its intensity, there are moments of grim beauty within the chaos. “Milk of Human Kindness” stands out as one of the more developing tracks, with its slow build and intricate guitar work creating a sense of tension that is ultimately released in a devastating crescendo. “Masc,” on the other hand, explores themes of identity and societal expectations, offering a more personal perspective on the album’s overarching narrative.
Cool World cements Chat Pile as one of the leading voices in modern metal. The band’s ability to channel psychological and societal horrors into a crushing sonic landscape is unparalleled, and with this album, they continue to push the boundaries of what noise rock and metal can achieve. It’s not an easy listen, but it’s a necessary one—an album that forces you to confront the ugliest parts of humanity, all while leaving you unable to look away.
Cool World is a visceral, unflinching exploration of violence in all its forms, personal and systemic. Chat Pile continues to refine their sound while expanding their thematic scope, making this album a must-listen for fans of heavy, confrontational music.
Chat Pile: Website
Chat Pile
Cool World
October 11, 2024
The Flenser