Since forming just over six years ago, Oklahoma City quartet Chat Pile have evolved from a scrappy passion project between four local film and music obsessives into one of the defining heavy bands to emerge from the underground in the 2020s. Nothing about Who Loves The Sun feels artificial.
Chat Pile have developed such a distinctive style that you know it’s them almost instantly, and Who Loves The Sun only strengthens that identity. Opener Creature wastes no time, dragging listeners into the band’s filthy, sludgy world through huge bass tones and Ray B.’s unmistakably unhinged vocal delivery. The stripped-back bass breakdown towards the end may be simple, but it’s incredibly effective and impossible not to nod along to.
Deep Blue follows with much of the same oppressive atmosphere, although this time the band lean further into memorable vocal hooks. There’s a newfound emphasis on melody without sacrificing any of the weight, and the groove becomes almost hypnotic as the track unfolds.
Same Rules slows everything down, opening with an almost lo-fi feel that at times recalls a much darker version of The Cure. It highlights another side of the band before gradually building into heavier territory. That irresistible groove quickly returns on Pen I S Mall, a sludgy beast packed with feral, confrontational vocals. While the aggression remains intact, it’s clear Chat Pile approached this record with stronger songwriting in mind, weaving in hooks inspired by pre-2000s indie rock, alternative music and new wave. Tracks like Christabel ’26, with its repeated, blood-soaked vocal refrain, and the tense build into the crushing chorus of Deep Blue perfectly showcase this evolution.
The guitars on Shrine are a particular highlight, adding moments of light and texture amongst the chaos before the track reaches its towering climax.
Intruder offers another change of pace, with guest vocalists Claire Hannah and Brittany Sawtelle of Nightosphere providing haunting harmonies that elevate the chorus beautifully. They also appear on “Influence” which is such a great track and instantly made me turn up the volume. They balance the extreme and quieter moment and the wig our guitars are just another little bonus on this track. Quite possibly one of the albums real stand out tracks
Elsewhere, Christabel ’26 delivers exactly the kind of head-banging sludge fans have come to expect, but it’s the infectious vocal hooks that really stand out. The repeated chants of “All they really need… every drop of blood… all your family’s blood… spit in the face of God” are impossible to forget.
Influence bursts out of the gate with swagger and feels destined to open up pits when played live. Built around a relentless groove, it’s tailor-made for two-steppers, while the harmonies during the “Razor Blade” chorus add even more depth. It’s another example of a band pushing their songwriting without losing any of the intensity that made them so compelling in the first place.
Family Funeral continues the bleak storytelling, built around rumbling bass, jagged guitars and Ray B.’s unsettling narrative delivery. It closes with the devastating line, “And though it hurts me, I needed to hurt you,”leaving a lasting impression.
Album closer October All The Time couldn’t provide a more fitting contrast. Gentle acoustic guitar, restrained vocals and subtle synths slowly build a quiet sense of unease before fading away, offering a rare moment to reflect on everything that came before.
Who Loves The Sun is an overwhelming experience, but beneath the crushing riffs and relentless heaviness lies an album packed with groove, memorable hooks and moments of genuine catharsis. The result is their strongest and most complete record to date, and one that demands repeated listens. Noise rock fans should clear some space in their end-of-year lists because this absolutely slaps.