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:20251218T193000 DTEND;TZID=UTC:20251218T230000 DTSTAMP:20260502T131925 CREATED:20251014T144747Z LAST-MODIFIED:20251014T145219Z UID:10000049-1766086200-1766098800@foggynotions.ie SUMMARY:SODA BLONDE 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/soda-blonde-vicar-street-december-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Soda-Blonde-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251221T193000 DTEND;TZID=UTC:20251221T230000 DTSTAMP:20260502T131926 CREATED:20251014T145406Z LAST-MODIFIED:20251103T211841Z UID:10000050-1766345400-1766358000@foggynotions.ie SUMMARY:LISA O'NEILL 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/lisa-o-neill-vicar-street-december-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/LISA-Website-Support.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260125T200000 DTEND;TZID=UTC:20260125T223000 DTSTAMP:20260502T131926 CREATED:20251126T100327Z LAST-MODIFIED:20251126T161019Z UID:10000137-1769371200-1769380200@foggynotions.ie SUMMARY:GLASSHOUSE PERFORM SIGUR RÓS 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/glasshouse-perform-sigur-ros-national-concert-hall-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/11/Glasshouse-Sigur-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260130T200000 DTEND;TZID=UTC:20260130T230000 DTSTAMP:20260502T131926 CREATED:20251016T074240Z LAST-MODIFIED:20260130T125755Z UID:10000091-1769803200-1769814000@foggynotions.ie SUMMARY:FAETOOTH 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/faetooth-workmans-club-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Faetooth-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260204T200000 DTEND;TZID=UTC:20260204T230000 DTSTAMP:20260502T131926 CREATED:20251211T085239Z LAST-MODIFIED:20251211T085714Z UID:10000145-1770235200-1770246000@foggynotions.ie SUMMARY:CORTISA STAR 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/cortisa-star-soundhouse-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/12/CORTISA-STAR-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260207T200000 DTEND;TZID=UTC:20260207T230000 DTSTAMP:20260502T131926 CREATED:20251015T193534Z LAST-MODIFIED:20251220T205305Z UID:10000076-1770494400-1770505200@foggynotions.ie SUMMARY:THEY ARE GUTTING A BODY OF WATER 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/they-are-gutting-a-body-of-water-whelans-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/TAGABOW-Website-SO.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260211T200000 DTEND;TZID=UTC:20260211T230000 DTSTAMP:20260502T131926 CREATED:20251112T145316Z LAST-MODIFIED:20260127T190351Z UID:10000120-1770840000-1770850800@foggynotions.ie SUMMARY:MARIA SOMERVILLE 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/maria-somerville-kasbah-limerick-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/11/Maria-All-New-Instagram-Post.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260212T200000 DTEND;TZID=UTC:20260212T230000 DTSTAMP:20260502T131926 CREATED:20251112T150008Z LAST-MODIFIED:20260212T154342Z UID:10000121-1770926400-1770937200@foggynotions.ie SUMMARY:MARIA SOMERVILLE 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/maria-somerville-roisin-dubh-galway-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/11/Maria-All-New-Instagram-Post.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260213T200000 DTEND;TZID=UTC:20260213T230000 DTSTAMP:20260502T131926 CREATED:20251016T191433Z LAST-MODIFIED:20251220T204541Z UID:10000098-1771012800-1771023600@foggynotions.ie SUMMARY:JOHN BRAMWELL (I AM KLOOT) 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-bramwell-i-am-kloot-dublin-2026-friday/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/John-B-Web.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260213T200000 DTEND;TZID=UTC:20260213T230000 DTSTAMP:20260502T131926 CREATED:20251112T150636Z LAST-MODIFIED:20260129T185724Z UID:10000122-1771012800-1771023600@foggynotions.ie SUMMARY:MARIA SOMERVILLE 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/maria-somerville-whelans-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/11/Maria-SO-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260214T200000 DTEND;TZID=UTC:20260214T230000 DTSTAMP:20260502T131926 CREATED:20251015T204705Z LAST-MODIFIED:20260204T175500Z UID:10000084-1771099200-1771110000@foggynotions.ie SUMMARY:WAVVES 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/wavves-grand-social-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/WAVVES-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260214T200000 DTEND;TZID=UTC:20260214T230000 DTSTAMP:20260502T131926 CREATED:20251016T192128Z LAST-MODIFIED:20251220T204739Z UID:10000099-1771099200-1771110000@foggynotions.ie SUMMARY:JOHN BRAMWELL (I AM KLOOT) 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-bramwell-i-am-kloot-dublin-2026-saturday/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/John-B-Web.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260217T193000 DTEND;TZID=UTC:20260217T230000 DTSTAMP:20260502T131926 CREATED:20251015T201634Z LAST-MODIFIED:20251127T131227Z UID:10000081-1771356600-1771369200@foggynotions.ie SUMMARY:MILITARIE GUN 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/militarie-gun-button-factory-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Militarie-Gun-New-Instagram-Post-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260218T193000 DTEND;TZID=UTC:20260218T230000 DTSTAMP:20260502T131926 CREATED:20251014T193436Z LAST-MODIFIED:20251014T194557Z UID:10000065-1771443000-1771455600@foggynotions.ie SUMMARY:GAVIN FRIDAY 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/gavin-friday-ireland-spring-2026-limerick/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Gavin-Friday-Website-Both.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260219T193000 DTEND;TZID=UTC:20260219T230000 DTSTAMP:20260502T131926 CREATED:20251014T195241Z LAST-MODIFIED:20251102T203327Z UID:10000066-1771529400-1771542000@foggynotions.ie SUMMARY:STEREOLAB 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/stereolab-ireland-february-2026-cork/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Stereolab-ALL-Website-Updated.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260220T193000 DTEND;TZID=UTC:20260220T230000 DTSTAMP:20260502T131926 CREATED:20251014T201649Z LAST-MODIFIED:20251102T203204Z UID:10000067-1771615800-1771628400@foggynotions.ie SUMMARY:STEREOLAB 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/stereolab-ireland-february-2026-limerick/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Stereolab-ALL-Website-Updated.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260220T193000 DTEND;TZID=UTC:20260220T230000 DTSTAMP:20260502T131926 CREATED:20251015T200858Z LAST-MODIFIED:20251016T205706Z UID:10000080-1771615800-1771628400@foggynotions.ie SUMMARY:DANNY L HARLE 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/danny-l-harle-button-factory-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Danny-L-Harle-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260220T200000 DTEND;TZID=UTC:20260220T223000 DTSTAMP:20260502T131926 CREATED:20251016T201158Z LAST-MODIFIED:20251102T153723Z UID:10000105-1771617600-1771626600@foggynotions.ie SUMMARY:FABIANO DO NASCIMENTO 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/fabiano-do-nascimento-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/FABIANO-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260220T200000 DTEND;TZID=UTC:20260220T230000 DTSTAMP:20260502T131926 CREATED:20251015T211038Z LAST-MODIFIED:20251015T211646Z UID:10000086-1771617600-1771628400@foggynotions.ie SUMMARY:TEI SHI 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/tei-shi-bello-bar-february-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Tei-Shi-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260221T200000 DTEND;TZID=UTC:20260221T230000 DTSTAMP:20260502T131927 CREATED:20251014T202700Z LAST-MODIFIED:20251102T203437Z UID:10000068-1771704000-1771714800@foggynotions.ie SUMMARY:STEREOLAB 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/stereolab-ireland-february-2026-dublin/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Stereolab-ALL-Website-Updated.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260221T203000 DTEND;TZID=UTC:20260221T230000 DTSTAMP:20260502T131927 CREATED:20251015T205634Z LAST-MODIFIED:20251015T210750Z UID:10000085-1771705800-1771714800@foggynotions.ie SUMMARY:COURTNEY MARIE ANDREWS 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/courtney-marie-andrews-whelans-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Courtney-Instagram-Post-updated-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260222T193000 DTEND;TZID=UTC:20260222T230000 DTSTAMP:20260502T131927 CREATED:20251014T203210Z LAST-MODIFIED:20251014T203726Z UID:10000069-1771788600-1771801200@foggynotions.ie SUMMARY:STEREOLAB 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/stereolab-ireland-february-2026-belfast/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Stereolab-ALL-Website-Updated.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260223T200000 DTEND;TZID=UTC:20260223T230000 DTSTAMP:20260502T131927 CREATED:20260108T145131Z LAST-MODIFIED:20260109T095658Z UID:10000162-1771876800-1771887600@foggynotions.ie SUMMARY:STEREOLAB 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/stereolab-whelans-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/01/Stereolab-Whelans-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260224T200000 DTEND;TZID=UTC:20260224T230000 DTSTAMP:20260502T131927 CREATED:20251113T115355Z LAST-MODIFIED:20251113T115850Z UID:10000125-1771963200-1771974000@foggynotions.ie SUMMARY:MARK WILLIAM LEWIS 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/mark-william-lewis-workmans-club-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/11/MWL-Web-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260227T200000 DTEND;TZID=UTC:20260227T230000 DTSTAMP:20260502T131927 CREATED:20251218T111649Z LAST-MODIFIED:20251218T112150Z UID:10000154-1772222400-1772233200@foggynotions.ie SUMMARY:JANA HORN 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/jana-horn-bello-bar-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/12/Jana-Horn-Website-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260305T200000 DTEND;TZID=UTC:20260305T230000 DTSTAMP:20260502T131927 CREATED:20251105T100234Z LAST-MODIFIED:20260225T150120Z UID:10000111-1772740800-1772751600@foggynotions.ie SUMMARY:REMEMBER SPORTS 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/remember-sports-workmans-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/11/Remember-Sports-Web-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260308T200000 DTEND;TZID=UTC:20260308T223000 DTSTAMP:20260502T131927 CREATED:20260205T085054Z LAST-MODIFIED:20260205T091823Z UID:10000179-1773000000-1773009000@foggynotions.ie SUMMARY:LISA O'NEILL 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/lisa-oneill-pavilion-dun-laoghaire-march-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/LISA-ONEILL-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260312T193000 DTEND;TZID=UTC:20260312T230000 DTSTAMP:20260502T131927 CREATED:20251014T192322Z LAST-MODIFIED:20251014T192835Z UID:10000064-1773343800-1773356400@foggynotions.ie SUMMARY:GAVIN FRIDAY 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/gavin-friday-ireland-spring-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Gavin-Friday-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260318T200000 DTEND;TZID=UTC:20260318T230000 DTSTAMP:20260502T131927 CREATED:20251016T081138Z LAST-MODIFIED:20251102T203938Z UID:10000094-1773864000-1773874800@foggynotions.ie SUMMARY:BAR ITALIA 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/bar-italia-ireland-march-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/bar-italia-Website-Dublin.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260319T200000 DTEND;TZID=UTC:20260319T230000 DTSTAMP:20260502T131927 CREATED:20251016T081930Z LAST-MODIFIED:20251016T083038Z UID:10000095-1773950400-1773961200@foggynotions.ie SUMMARY:BAR ITALIA 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/bar-italia-ireland-march-2026-belfast/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/bar-italia-Website-Belfast.jpg END:VEVENT END:VCALENDAR