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:20250101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=UTC:20260509T193000 DTEND;TZID=UTC:20260509T223000 DTSTAMP:20260502T120324 CREATED:20251028T100005Z LAST-MODIFIED:20260323T135537Z UID:10000108-1778355000-1778365800@foggynotions.ie SUMMARY:THE TWILIGHT SAD 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/the-twilight-sad-button-factory-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/TWILIGHT-SAD-Website-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260512T193000 DTEND;TZID=UTC:20260512T230000 DTSTAMP:20260502T120324 CREATED:20251112T085645Z LAST-MODIFIED:20260304T001553Z UID:10000115-1778614200-1778626800@foggynotions.ie SUMMARY:TRICKY 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/tricky-vicar-street-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/11/TRICKY-website-SO-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260513T200000 DTEND;TZID=UTC:20260513T230000 DTSTAMP:20260502T120324 CREATED:20260211T222404Z LAST-MODIFIED:20260212T100241Z UID:10000182-1778702400-1778713200@foggynotions.ie SUMMARY:SPAFFORD CAMPBELL 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/spafford-campbell-whelans-upstairs-may-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/Spafford-Campbell-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260515T200000 DTEND;TZID=UTC:20260515T230000 DTSTAMP:20260502T120324 CREATED:20260121T102430Z LAST-MODIFIED:20260413T154443Z UID:10000172-1778875200-1778886000@foggynotions.ie SUMMARY:THE HANDSOME FAMILY 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/the-handsome-family-whelans-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/01/The-Handsome-Family-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260520T200000 DTEND;TZID=UTC:20260520T230000 DTSTAMP:20260502T120325 CREATED:20251016T072433Z LAST-MODIFIED:20251016T073207Z UID:10000089-1779307200-1779318000@foggynotions.ie SUMMARY:TIDE LINES 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/tide-lines-whelans-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Tide-Line-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260522T200000 DTEND;TZID=UTC:20260522T230000 DTSTAMP:20260502T120325 CREATED:20251113T120958Z LAST-MODIFIED:20251113T121533Z UID:10000126-1779480000-1779490800@foggynotions.ie SUMMARY:THE NIGHTINGALES 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/the-nightingales-workmans-club-may-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/11/Nightingales-Instagram-Post-New-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260522T200000 DTEND;TZID=UTC:20260522T230000 DTSTAMP:20260502T120325 CREATED:20260320T095019Z LAST-MODIFIED:20260323T163038Z UID:10000205-1779480000-1779490800@foggynotions.ie SUMMARY:DUENDITA 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/duendita-whelans-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/03/duendita-website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260529T200000 DTEND;TZID=UTC:20260529T230000 DTSTAMP:20260502T120325 CREATED:20260401T073342Z LAST-MODIFIED:20260402T090410Z UID:10000209-1780084800-1780095600@foggynotions.ie SUMMARY:KEVIN FOWLEY & LOUISE GAFFNEY 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/kevin-fowley-louise-gaffney-bello-bar-may-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/Kevin-and-Louise-website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260603T200000 DTEND;TZID=UTC:20260603T230000 DTSTAMP:20260502T120325 CREATED:20260304T094038Z LAST-MODIFIED:20260306T100744Z UID:10000195-1780516800-1780527600@foggynotions.ie SUMMARY:JON SPENCER 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/jon-spencer-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/03/Jon-Spencer-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260605T193000 DTEND;TZID=UTC:20260605T230000 DTSTAMP:20260502T120325 CREATED:20260114T092627Z LAST-MODIFIED:20260303T172032Z UID:10000167-1780687800-1780700400@foggynotions.ie SUMMARY:ALDOUS HARDING 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/aldous-harding-vicar-street-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/03/ALDOUS-New-Website-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260605T200000 DTEND;TZID=UTC:20260605T230000 DTSTAMP:20260502T120325 CREATED:20260225T190639Z LAST-MODIFIED:20260426T170947Z UID:10000192-1780689600-1780700400@foggynotions.ie SUMMARY:C.W STONEKING 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/c-w-stoneking-button-factory-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/C.W.-Stoneking-Website-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260606T200000 DTEND;TZID=UTC:20260606T230000 DTSTAMP:20260502T120325 CREATED:20260319T095805Z LAST-MODIFIED:20260319T114743Z UID:10000200-1780776000-1780786800@foggynotions.ie SUMMARY:NADIA REID 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/nadia-reid-bello-bar-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/03/Nadia-Reid-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260606T200000 DTEND;TZID=UTC:20260606T230000 DTSTAMP:20260502T120325 CREATED:20260401T143939Z LAST-MODIFIED:20260402T090522Z UID:10000210-1780776000-1780786800@foggynotions.ie SUMMARY:NERVES 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/nerves-workmans-club-june-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/Nerves-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260607T200000 DTEND;TZID=UTC:20260607T230000 DTSTAMP:20260502T120325 CREATED:20260218T085933Z LAST-MODIFIED:20260220T100800Z UID:10000187-1780862400-1780873200@foggynotions.ie SUMMARY:KITTY CRAFT 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/kitty-craft-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/Kitty-Craft-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260617T193000 DTEND;TZID=UTC:20260617T230000 DTSTAMP:20260502T120325 CREATED:20260325T191713Z LAST-MODIFIED:20260326T050136Z UID:10000206-1781724600-1781737200@foggynotions.ie SUMMARY:MOUNT EERIE 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/mount-eerie-button-factory-dublin-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/03/Mount-Eerie-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260703T200000 DTEND;TZID=UTC:20260703T200000 DTSTAMP:20260502T120325 CREATED:20260423T175350Z LAST-MODIFIED:20260424T091550Z UID:10000219-1783108800-1783108800@foggynotions.ie SUMMARY:GOLDBUG 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/goldbug-bello-bar-july-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/Goldbug-website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260704T200000 DTEND;TZID=UTC:20260704T223000 DTSTAMP:20260502T120325 CREATED:20260407T144804Z LAST-MODIFIED:20260410T140614Z UID:10000212-1783195200-1783204200@foggynotions.ie SUMMARY:THAIBOY DIGITAL 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/thaiboy-digital-dublin-july-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/THAIBOY-DIGITAL-Website-OPIUM.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260709T200000 DTEND;TZID=UTC:20260709T230000 DTSTAMP:20260502T120325 CREATED:20260218T145434Z LAST-MODIFIED:20260310T164119Z UID:10000188-1783627200-1783638000@foggynotions.ie SUMMARY:DEAD PIONEERS 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/dead-pioneers-dublin-july-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/Dead-Pioneers-Website-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260710T200000 DTEND;TZID=UTC:20260710T230000 DTSTAMP:20260502T120325 CREATED:20260413T084632Z LAST-MODIFIED:20260413T154711Z UID:10000216-1783713600-1783724400@foggynotions.ie SUMMARY:PANSY DIVISION 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/pansy-division-dublin-july-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/Pansy-Division-Instagram-Post-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260714T190000 DTEND;TZID=UTC:20260714T223000 DTSTAMP:20260502T120325 CREATED:20251215T170540Z LAST-MODIFIED:20251215T171559Z UID:10000150-1784055600-1784068200@foggynotions.ie SUMMARY:PATTI SMITH 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/patti-smith-limerick-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/12/PattiSmith_insta_1080x1350-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260722T193000 DTEND;TZID=UTC:20260722T230000 DTSTAMP:20260502T120325 CREATED:20260202T084252Z LAST-MODIFIED:20260303T103628Z UID:10000177-1784748600-1784761200@foggynotions.ie SUMMARY:THE BETA BAND DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/the-beta-band-vicar-street-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/THE-BETA-BAND-website-SO-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260725T200000 DTEND;TZID=UTC:20260725T230000 DTSTAMP:20260502T120325 CREATED:20260127T085106Z LAST-MODIFIED:20260420T133116Z UID:10000174-1785009600-1785020400@foggynotions.ie SUMMARY:AGNES OBEL 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/agnes-obel-dublin-july-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/01/AGNES-OBEL-Website-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260819T193000 DTEND;TZID=UTC:20260819T230000 DTSTAMP:20260502T120325 CREATED:20260210T091922Z LAST-MODIFIED:20260213T173354Z UID:10000181-1787167800-1787180400@foggynotions.ie SUMMARY:CHAT PILE 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/chat-pile-button-factory-dublin-19-aug-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/CHAT-PILE-2ND-Night-Instagram-Post-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260820T193000 DTEND;TZID=UTC:20260820T230000 DTSTAMP:20260502T120325 CREATED:20260213T091957Z LAST-MODIFIED:20260310T182823Z UID:10000186-1787254200-1787266800@foggynotions.ie SUMMARY:CHAT PILE 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/chat-pile-button-factory-dublin-20-aug-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/CHAT-PILE-2ND-Night-Instagram-Post-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260824T200000 DTEND;TZID=UTC:20260824T230000 DTSTAMP:20260502T120325 CREATED:20260212T165007Z LAST-MODIFIED:20260305T100231Z UID:10000185-1787601600-1787612400@foggynotions.ie SUMMARY:PROSTITUTE 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/prostitute-dublin-august-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/Prostitute-WC-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260826T200000 DTEND;TZID=UTC:20260826T223000 DTSTAMP:20260502T120325 CREATED:20260408T085239Z LAST-MODIFIED:20260408T085928Z UID:10000214-1787774400-1787783400@foggynotions.ie SUMMARY:THE TALLEST MAN ON EARTH 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/the-tallest-man-on-earth-national-concert-hall-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/Tallest-Man-On-Earth-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260826T200000 DTEND;TZID=UTC:20260826T230000 DTSTAMP:20260502T120325 CREATED:20260310T165717Z LAST-MODIFIED:20260310T174835Z UID:10000198-1787774400-1787785200@foggynotions.ie SUMMARY:EARL SWEATSHIRT & MIKE 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/earl-sweatshirt-mike-vicar-street-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/03/EARL-MIKE-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260831T193000 DTEND;TZID=UTC:20260831T223000 DTSTAMP:20260502T120325 CREATED:20251028T100000Z LAST-MODIFIED:20251113T090733Z UID:10000109-1788204600-1788215400@foggynotions.ie SUMMARY:MAC DEMARCO DESCRIPTION:FOGGY NOTIONS & U:MACK PRESENT\nCHAT PILE\nSPECIAL GUESTS\nRAGANA\nBUTTON FACTORY\n19TH AUGUST - SOLD OUT \n \n \n \n \n \n \n \n \n \n \n TICKETMASTER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n Add to calendar \n \n \n\n \n \n \n Google Calendar\n\n \n iCalendar\n\n \n Outlook 365\n\n \n Outlook Live\n\n \n \n\n \n \n\n \n \n \n \n \n \n \n \n \n \n \n \n EXTRA DATE 20TH AUGUST ON SALE NOW – TICKETS Like the towering mounds of toxic waste from which it gets its namesake\, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating\, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive\, unrelenting\, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream\, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Besides being the name of a largely forgotten (and panned) 90s film\, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record\, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work\, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album\, except now exploded from a micro to macro scale\, with thoughts specifically about disasters abroad\, at home\, and how they affect one another\,” says vocalist Raygun Busch. Though very much on-brand with Chat Pile’s signature flavor of cacophonous\, sludgy noise rock\, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting\, but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings\, with examples of gazy\, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate\, uncompromising essence of Chat Pile\, we also knew that with Cool World\, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory\,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record\, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound\, Cool World is also the band’s first record to have someone else handle mixing duties\, with Ben Greenberg of Uniform (Algiers\, Drab Majesty\, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”\, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”\, or the mental anguish of hopelessness on “The New World”\, Cool World is an apocalyptically bleak record. Sure\, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught\, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms\, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality. “If I had to describe the album in one sentence\,” explains Busch\, “It’s hard not to borrow from Voltaire\, so I won’t resist – Cool World is about the price at which we eat sugar in America.” \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/mac-demarco-ulster-hall-belfast-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/MAC-DEMARCO-Website-Belfast.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260909T200000 DTEND;TZID=UTC:20260909T223000 DTSTAMP:20260502T120325 CREATED:20260422T085236Z LAST-MODIFIED:20260429T113249Z UID:10000218-1788984000-1788993000@foggynotions.ie SUMMARY:DÚN LAOGHAIRE FOLK FESTIVAL 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/dun-laoghaire-folk-festival-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/DFF-format_1080x1080-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20260914T190000 DTEND;TZID=UTC:20260914T230000 DTSTAMP:20260502T120325 CREATED:20260407T134956Z LAST-MODIFIED:20260407T144058Z UID:10000211-1789412400-1789426800@foggynotions.ie SUMMARY:KURT VILE & THE VIOLATORS 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/kurt-vile-the-violators-vicar-street-2026/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/Kurt-Vile-Website.jpg END:VEVENT END:VCALENDAR