In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeatesWho Loves The Sun, their third full-length record. Since the bands formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Capn Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing aboutWho Loves The Sunfeels synthetic.

Whereas their debut album Gods Country depicted a particularly American flavour of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence,Who Loves The Sunpeels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse.

As with much of Chat Piles work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence ofWho Loves The Sunis the photo embossed on the records cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground.

The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of Christabel 26 to the eerie trip-hop pulse of Same Rules,Who Loves The Sunis deeply human despite its allusions to a dying, divided .