BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Foggy Notions - ECPv6.15.15//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:http://foggynotions.ie X-WR-CALDESC:Events for Foggy Notions REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20240101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=UTC:20251211T193000 DTEND;TZID=UTC:20251211T230000 DTSTAMP:20260501T231935 CREATED:20251014T175932Z LAST-MODIFIED:20251014T180510Z UID:10000055-1765481400-1765494000@foggynotions.ie SUMMARY:CARIBOU DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/caribou-vicar-street-december-2025-night-two/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/CARIBOU-3-SO-Instagram-Post.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251210T193000 DTEND;TZID=UTC:20251210T230000 DTSTAMP:20260501T231935 CREATED:20251014T174244Z LAST-MODIFIED:20251014T175713Z UID:10000054-1765395000-1765407600@foggynotions.ie SUMMARY:CARIBOU DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/caribou-vicar-street-december-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/CARIBOU-3-SO-Instagram-Post.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251206T193000 DTEND;TZID=UTC:20251206T230000 DTSTAMP:20260501T231935 CREATED:20251014T143806Z LAST-MODIFIED:20251014T144342Z UID:10000048-1765049400-1765062000@foggynotions.ie SUMMARY:DIRTY THREE DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/dirty-three-vicar-street-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/Dirty-Three-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251206T193000 DTEND;TZID=UTC:20251206T223000 DTSTAMP:20260501T231936 CREATED:20251015T192415Z LAST-MODIFIED:20251125T180259Z UID:10000075-1765049400-1765060200@foggynotions.ie SUMMARY:JOHN MAUS DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/john-maus-button-factory-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/JOHN-M-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251206T193000 DTEND;TZID=UTC:20251206T223000 DTSTAMP:20260501T231936 CREATED:20251014T185904Z LAST-MODIFIED:20251014T190650Z UID:10000062-1765049400-1765060200@foggynotions.ie SUMMARY:NIGHT TAPES DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/night-tapes-dublin-december-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Night-Tapes-Website-SO.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251205T193000 DTEND;TZID=UTC:20251205T220000 DTSTAMP:20260501T231936 CREATED:20251111T103652Z LAST-MODIFIED:20251111T104631Z UID:10000114-1764963000-1764972000@foggynotions.ie SUMMARY:RORY SWEENEY LIVE DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/rory-sweeney-live-tengu-dublin-2025/ ATTACH;FMTTYPE=image/png:http://foggynotions.ie/wp-content/uploads/2025/11/Foggy-Rory-Sweeney-WEB.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251203T193000 DTEND;TZID=UTC:20251203T230000 DTSTAMP:20260501T231936 CREATED:20251014T143125Z LAST-MODIFIED:20251014T143605Z UID:10000047-1764790200-1764802800@foggynotions.ie SUMMARY:DEAFHEAVEN DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/deafheaven-dublin-december-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/DFHVN-Website-SO.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251130T200000 DTEND;TZID=UTC:20251130T233000 DTSTAMP:20260501T231936 CREATED:20251016T194754Z LAST-MODIFIED:20251102T153831Z UID:10000102-1764532800-1764545400@foggynotions.ie SUMMARY:AN EVENING WITH LOU BARLOW DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/lou-barlow-bello-bar-dublin-2025-sunday/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Lou-Barlow-Instagram-Post-New-copy-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251129T200000 DTEND;TZID=UTC:20251129T233000 DTSTAMP:20260501T231936 CREATED:20251016T193909Z LAST-MODIFIED:20251016T194459Z UID:10000101-1764446400-1764459000@foggynotions.ie SUMMARY:AN EVENING WITH LOU BARLOW DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/lou-barlow-bello-bar-dublin-2025-saturday/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Lou-Barlow-Instagram-Post-New-copy-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251129T200000 DTEND;TZID=UTC:20251129T230000 DTSTAMP:20260501T231936 CREATED:20251014T142356Z LAST-MODIFIED:20251014T142943Z UID:10000046-1764446400-1764457200@foggynotions.ie SUMMARY:TUNE-YARDS DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/tune-yards-whelans-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Tune-Yards-Website-SO.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251124T200000 DTEND;TZID=UTC:20251124T230000 DTSTAMP:20260501T231936 CREATED:20251014T141728Z LAST-MODIFIED:20251014T142203Z UID:10000045-1764014400-1764025200@foggynotions.ie SUMMARY:NOURISHED BY TIME DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/nourished-by-time-dublin-november-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Nourished-By-Time-Website-SO.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251122T183000 DTEND;TZID=UTC:20251122T230000 DTSTAMP:20260501T231936 CREATED:20251014T185033Z LAST-MODIFIED:20251014T185536Z UID:10000061-1763836200-1763852400@foggynotions.ie SUMMARY:MY BLOODY VALENTINE DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/my-bloody-valentine-3arena-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/MBV-Instagram-Post-SOLD-OUT.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251120T200000 DTEND;TZID=UTC:20251120T230000 DTSTAMP:20260501T231936 CREATED:20251015T202642Z LAST-MODIFIED:20251024T220308Z UID:10000082-1763668800-1763679600@foggynotions.ie SUMMARY:KATHRYN MOHR DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/kathyrn-mohr-bello-bar-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Kathryn-Mohr-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251119T193000 DTEND;TZID=UTC:20251119T230000 DTSTAMP:20260501T231936 CREATED:20251014T184328Z LAST-MODIFIED:20251014T184740Z UID:10000060-1763580600-1763593200@foggynotions.ie SUMMARY:ALEX G DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/alex-g-vicar-street-november-2025-night-two/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Alex-G-SO-Website-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251118T193000 DTEND;TZID=UTC:20251118T230000 DTSTAMP:20260501T231936 CREATED:20251014T183540Z LAST-MODIFIED:20251014T184030Z UID:10000059-1763494200-1763506800@foggynotions.ie SUMMARY:ALEX G DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/alex-g-vicar-street-november-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Alex-G-SO-Website-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251118T193000 DTEND;TZID=UTC:20251118T230000 DTSTAMP:20260501T231936 CREATED:20251014T182359Z LAST-MODIFIED:20251014T182839Z UID:10000058-1763494200-1763506800@foggynotions.ie SUMMARY:Mac DeMarco DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/mac-demarco-dublin-2025-night-two/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/MAC-DEMARCO-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251117T193000 DTEND;TZID=UTC:20251117T230000 DTSTAMP:20260501T231936 CREATED:20251015T195953Z LAST-MODIFIED:20251024T220118Z UID:10000079-1763407800-1763420400@foggynotions.ie SUMMARY:HAMILTON LEITHAUSER DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/hamilton-leithauser-button-factory-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/HAMILTON-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251117T193000 DTEND;TZID=UTC:20251117T230000 DTSTAMP:20260501T231936 CREATED:20251014T181550Z LAST-MODIFIED:20251014T182229Z UID:10000057-1763407800-1763420400@foggynotions.ie SUMMARY:Mac DeMarco DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/mac-demarco-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/MAC-DEMARCO-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251116T200000 DTEND;TZID=UTC:20251116T230000 DTSTAMP:20260501T231936 CREATED:20251015T195142Z LAST-MODIFIED:20251110T214705Z UID:10000078-1763323200-1763334000@foggynotions.ie SUMMARY:WATER FROM YOUR EYES DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/water-from-your-eyes-workmans-club-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/WaterFromYourEyes-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251115T200000 DTEND;TZID=UTC:20251115T230000 DTSTAMP:20260501T231936 CREATED:20251016T190633Z LAST-MODIFIED:20251016T191126Z UID:10000097-1763236800-1763247600@foggynotions.ie SUMMARY:PROTOMARTYR DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/protomartyr-dublin-november-2025-saturday/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/PROTOMARTYR-Website-Support.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251114T200000 DTEND;TZID=UTC:20251114T230000 DTSTAMP:20260501T231936 CREATED:20251016T131729Z LAST-MODIFIED:20251016T190352Z UID:10000096-1763150400-1763161200@foggynotions.ie SUMMARY:PROTOMARTYR DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/protomartyr-dublin-november-2025-friday/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/PROTOMARTYR-Website-Support.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251114T193000 DTEND;TZID=UTC:20251114T223000 DTSTAMP:20260501T231936 CREATED:20251014T140519Z LAST-MODIFIED:20251014T141006Z UID:10000044-1763148600-1763159400@foggynotions.ie SUMMARY:RÓIS DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/rois-button-factory-november-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/RÓIS-Website-SO.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251113T213000 DTEND;TZID=UTC:20251113T233000 DTSTAMP:20260501T231936 CREATED:20251014T132529Z LAST-MODIFIED:20251014T141441Z UID:10000043-1763069400-1763076600@foggynotions.ie SUMMARY:JANE REMOVER DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/jane-remover-grand-social-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/JANE-REMOVER-SO-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251112T200000 DTEND;TZID=UTC:20251112T230000 DTSTAMP:20260501T231936 CREATED:20251015T194312Z LAST-MODIFIED:20251107T174121Z UID:10000077-1762977600-1762988400@foggynotions.ie SUMMARY:MOMMA DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/momma-workmans-club-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/MOMMA-website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251111T200000 DTEND;TZID=UTC:20251111T230000 DTSTAMP:20260501T231936 CREATED:20251015T214124Z LAST-MODIFIED:20251024T214139Z UID:10000088-1762891200-1762902000@foggynotions.ie SUMMARY:HOTLINE TNT DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/hotline-tnt-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/HOTLINE-TNT-Website-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251110T200000 DTEND;TZID=UTC:20251110T230000 DTSTAMP:20260501T231936 CREATED:20251015T191404Z LAST-MODIFIED:20251024T212810Z UID:10000074-1762804800-1762815600@foggynotions.ie SUMMARY:THESE NEW PURITANS DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/these-new-puritans-workmans-club-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/TNP-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251108T193000 DTEND;TZID=UTC:20251108T220000 DTSTAMP:20260501T231937 CREATED:20251016T080034Z LAST-MODIFIED:20251024T134429Z UID:10000093-1762630200-1762639200@foggynotions.ie SUMMARY:BOG BAND DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/bog-band-tengu-dublin-november-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/bog-band-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251104T200000 DTEND;TZID=UTC:20251104T230000 DTSTAMP:20260501T231937 CREATED:20251016T075233Z LAST-MODIFIED:20251024T212617Z UID:10000092-1762286400-1762297200@foggynotions.ie SUMMARY:SLATER DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/slater-the-soundhouse-dublin-november-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Slater-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251104T193000 DTEND;TZID=UTC:20251104T223000 DTSTAMP:20260501T231937 CREATED:20251014T131815Z LAST-MODIFIED:20251014T132345Z UID:10000042-1762284600-1762295400@foggynotions.ie SUMMARY:JULIAN LAGE DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/julian-lage-the-helix-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Julian-Lage-H-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251101T193000 DTEND;TZID=UTC:20251101T223000 DTSTAMP:20260501T231937 CREATED:20251015T190603Z LAST-MODIFIED:20251101T141558Z UID:10000073-1762025400-1762036200@foggynotions.ie SUMMARY:MONO DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/mono-button-factory-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/MONO-Website.jpg END:VEVENT END:VCALENDAR