Chat Pile


(Copyright © 2022 Piero Scaruffi | Terms of Use )
Godís Country (2022), 7/10 Links:

(Clicka qua per la versione Italiana)

Oklahoma's quartet Chat Pile, fronted by shouter Randy Heyer (aka Raygun Busch) whose solo project Randy Rulz had already released I've Been Afraid of Changing Because I've Built My Life Around You (2016) Playtime (2018) and I Think We're Alone Now (2019), debuted their convoluted sludge metal on the four-song EP This Dungeon Earth (2019). Crushing riffs meet grotesque and sometimes goofy lyrics with abundant doses of dissonance in Face and magniloquent horrocore in Rat Boy. The standout is the bluesy Crawlspace which sounds like a possessed preacher fronting Blue Cheer-esque or David Yow of Scratch Acid fronting Melvins. The impact is somewhat tempered on second EP Remove Your Skin Please (2019), which, other than the display of perversion of Garbage Man, is mostly indulgent recitation by the vocalist.

They also contributed to the soundtrack of the film Tenkiller (2020), in which Rulz acted.

The sound of Godís Country (2022) harks back to the glory days of Scratch Acid, Jesus Lizard, Unsane and Big Black (another band that indulged in stories of murderers and psychos). The album is a hair-rising fresco of the reality lurking behind the "American dream", and at the same time the chronicle of the narrator's mental breakdown, all drenched in a claustrophobic sense of coming apocalypse. The album opens with one of the weakest songs, the faux-majestic Slaughterhouse, before entering the agon of desperation with the lumbering sermon of Why, over chugging riffs, gothic bass lines and doom-like drumbeats, the archetype for the virulent sonic avalanche of Wicked Puppet Dance, for the manic thrash-inspired rhythmic charge of the deranged and abrasive Tropical Beaches Inc, and for the cinematic The Mask. At the same time, Pamela opts for a simpler and less extreme sound, a noir ballad that transforms into angst-filled kammerspiel. Anywhere is even more protean, first a verbose spoken-word a` la Henry Rollins, then the music almost stops, and then a typical Big Black-ian freakshow. It is not a coincidence that the spoken-word piece I Don't Care If I Burn feels like similar in structure to the Doors' The End: what comes next is the nine-minute meltdown of Grimace_smoking_weed.jpeg, all ugly expressionist screaming and massive bass riffs.

(Copyright © 2022 Piero Scaruffi | Terms of use )