Chat Pile Take Their Cool World to Canada
Photo Credit: Victor Pozadas
Surrounded by towering shelves of films in his Oklahoma home, Raygun Busch can't help but pace excitedly as he pulls out prized copies of cult classics. The Chat Pile vocalist's frenetic energy mirrors the intense, visceral sound his band has become known for. As he proudly displays his Criterion Collection copy of “Frownland” - which inspired a track on their latest album Cool World - it becomes clear that Chat Pile's artistic vision extends far beyond the crushing heaviness of their sound.
The Oklahoma noise-rock outfit is preparing for their first venture into certain Canadian territories, including a highly anticipated March 1st show in Calgary, AB at Commonwealth. "I've never been to Calgary," Busch shares, his enthusiasm palpable even through the video call. "I've been to Toronto many times, Montréal twice, and Vancouver once. But not the middle. I'm just looking forward to it."
Chat Pile's story is one of patience and artistic integrity. Born from a two-decade friendship between Busch and brothers Stin and Cap'n Ron, later joined by Luther Manhole, the band emerged from Oklahoma's underground scene with no expectations beyond creating art they believed in. "We did this in the spirit of fun and friendship," Busch reflects. "To this day, that's still how we do Chat Pile."
Long before Chat Pile's rise, its members carved their own paths through Oklahoma's music scene - Stin and Cap'n Ron in Found Footage and Purple Church, Busch in Little Bear. But something alchemical happened when these veterans of the underground converged. "The confluence of our tastes together has created something that has more mass appeal than what we were doing separately," Busch muses, still searching to understand their breakthrough. "People ask, 'hey, how do I take this to the next level?' It's like, I have no fucking idea, honestly. It's a mixture of hard work, sticking to it even though you're going to fail most likely. And then luck has to be sprinkled in there too, which is not quantifiable at all. It's just something. It's magic, the magic of the universe."
Their latest album Cool World represents not just an evolution in their sound, but a defining moment in contemporary noise rock. The record, which landed on numerous critics' best-of-2024 lists, masterfully incorporates more melodic elements while maintaining their signature intensity. Like a filmmaker pushing the boundaries of their craft, Chat Pile has created something that transcends genre expectations. "I wanted to focus more on hooks," Busch explains, citing influences from The Jesus Lizard and Swans to Boston's self-titled album. "Not that challenging music is bad, but I was like, what if we put a big chorus in almost all of these songs?" This artistic choice proved prophetic - Cool World emerged as one of the year's most celebrated releases, its crushing heaviness balanced by moments of surprising accessibility.
Photo Credit: Victor Pozadas
At a recent Vancouver show, Busch's passion for Canadian cinema spilled from the stage when he enthusiastically shouted out Toronto New Wave’s Atom Egoyan and his film Exotica - a moment that left such an impression on one audience member that we made sure to ask about it. Now, across the video call, that same cinematic enthusiasm radiates as he discusses the film. "I love the way he weaves...I mean, I'm trying to think of another filmmaker that does this besides Robert Altman. Canadian cinema brings the heat to the point where I think I like their films most of all movies maybe." His appreciation for Canadian cinema runs deep, extending to cult classics like Hardcore Logo, Bruce McDonald's brilliantly deconstructed mockumentary that strips away punk rock's mythologized façade. Busch also cites Red Rooms as one of his favorite recent releases - a Montréal-made descent into digital darkness that follows a woman's obsession with watching courtroom trials of violent crimes through illegal internet streams, a film that mirrors Chat Pile's own unflinching examination of society's darkest corners.
This appreciation extends beyond film into music, with Busch expressing deep admiration for Canadian artists. "Destroyer is immediately a band that comes to mind," he enthuses, praising Dan Bejar's consistent excellence. "Destroyer’s Rubies is one of the best records of the century so far. When somebody puts out a record that good...they shouldn't be able to do more good stuff. But then Kaput comes out and it's like...maybe your best record!?" His knowledge spans from contemporary artists to legendary acts like Rush and No Means No, demonstrating a genuine connection to Canada's rich musical heritage.
As the conversation shifts to the music industry's challenges, Busch offers a thoughtful perspective on artist sustainability. Referencing Chappell Roan's recent Grammy speech about industry treatment, he acknowledges the struggles while maintaining a grounded outlook. "I personally never expected to be given anything," he reflects. "I still have my horrible Obamacare insurance that costs more than I can afford. That just seems normal to me. I'd love it if the industry starts paying people out…but if you're getting into it thinking it won't be a crazy struggle, you may never get there."
This pragmatic approach hasn't dampened Chat Pile's artistic ambitions. Their partnership with The Flenser label has provided a sustainable model for independence. "We couldn't do much better than the label we're on," says Busch. "When you take on huge advances, you're beholden to Universal or whatever. We're not in debt to anyone."
Despite their rising profile, Chat Pile remains deeply connected to their Oklahoma roots. Busch's eyes light up when discussing the local scene, championing emerging acts like Lust Online, whose recent EP captures the region's evolving sound. He excitedly name-checks Money, praising their meticulous approach of releasing "one song every six months," and Tulsa's Downward, who are carrying the torch of Oklahoma's heavy music heritage. His enthusiasm for these local artists mirrors the same genuine passion he holds for discussing cinema and established acts - there's no hierarchy in Busch's world of artistic appreciation, just authentic expression.
As Chat Pile prepares to bring their Cool World to Canadian audiences, they're already looking ahead - their next record is complete and slated for release later this year, with hints of an even more extreme direction to come. It's a testament to their restless creativity, their need to keep pushing forward even as the accolades pour in. Their upcoming Calgary show, featuring support from Gouge Away and Nightosphere, promises to be a powerful demonstration of why this Oklahoma outfit has captured the attention of noise-rock enthusiasts worldwide.
"You've got to make music for the sake of art," Busch emphasizes, finally settling into his chair after another burst of cinematic enthusiasm. "We would do Chat Pile even if I was still managing a movie theater. I try to stay completely humbled by what's happened to us. I know it's very special and I shouldn't take it for granted in any way."
For a full list of Canadian tour dates and tickets, check out chatpile.net. Chat Pile will be playing Vancouver, Calgary, and Edmonton. Find this story in Issue 3 of REVERIE Magazine, out everywhere in March, 2025.