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DTSTART;TZID=UTC:20260919T193000
DTEND;TZID=UTC:20260919T223000
DTSTAMP:20260503T152336
CREATED:20260115T085509Z
LAST-MODIFIED:20260413T150213Z
UID:10000169-1789846200-1789857000@foggynotions.ie
SUMMARY:HOLY FUCK
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/holy-fuck-button-factory-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/01/Cen-Holy-Fuck-Website-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260919T200000
DTEND;TZID=UTC:20260919T230000
DTSTAMP:20260503T152336
CREATED:20260501T095454Z
LAST-MODIFIED:20260501T095912Z
UID:10000222-1789848000-1789858800@foggynotions.ie
SUMMARY:DEAD BOB
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-bob-workmans-club-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/05/DEAD-BOB-Instagram-Post-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260925T200000
DTEND;TZID=UTC:20260925T230000
DTSTAMP:20260503T152336
CREATED:20260204T184846Z
LAST-MODIFIED:20260205T140431Z
UID:10000178-1790366400-1790377200@foggynotions.ie
SUMMARY:WILLIAM TYLER
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/william-tyler-bello-bar-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/William-Tyler-Website-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20260930T200000
DTEND;TZID=UTC:20260930T230000
DTSTAMP:20260503T152336
CREATED:20251015T212428Z
LAST-MODIFIED:20260323T162433Z
UID:10000087-1790798400-1790809200@foggynotions.ie
SUMMARY:LUTE
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/lute-grand-social-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/LUTE-SEPT-Instagram-Post-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261003T200000
DTEND;TZID=UTC:20261003T223000
DTSTAMP:20260503T152336
CREATED:20260112T125243Z
LAST-MODIFIED:20260112T180859Z
UID:10000166-1791057600-1791066600@foggynotions.ie
SUMMARY:ÓLAFUR ARNALDS - FALLING APART TOGETHER
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/olafur-arnalds-falling-apart-together/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/01/OLAFUR-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261004T150000
DTEND;TZID=UTC:20261004T173000
DTSTAMP:20260503T152336
CREATED:20260212T094535Z
LAST-MODIFIED:20260212T095007Z
UID:10000183-1791126000-1791135000@foggynotions.ie
SUMMARY:ÓLAFUR ARNALDS
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/olafur-arnalds-falling-apart-together-sunday-matinee/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/OLAFUR-Instagram-Post-MATINEE-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261014T193000
DTEND;TZID=UTC:20261014T230000
DTSTAMP:20260503T152336
CREATED:20251126T083951Z
LAST-MODIFIED:20251126T084604Z
UID:10000134-1792006200-1792018800@foggynotions.ie
SUMMARY:MERCURY REV
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/mercury-rev-vicar-street-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/11/MERCURY-REV-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261018T193000
DTEND;TZID=UTC:20261018T230000
DTSTAMP:20260503T152336
CREATED:20251117T100004Z
LAST-MODIFIED:20251117T122015Z
UID:10000128-1792351800-1792364400@foggynotions.ie
SUMMARY:THE MOUNTAIN GOATS
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-mountain-goats-vicar-street-october-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/11/The-Mountain-Goats-Website-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261020T193000
DTEND;TZID=UTC:20261020T230000
DTSTAMP:20260503T152336
CREATED:20251202T100021Z
LAST-MODIFIED:20251204T110718Z
UID:10000138-1792524600-1792537200@foggynotions.ie
SUMMARY:AUTECHRE
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/autechre-vicar-street-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/12/autechre-Instagram-Post-1-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261103T193000
DTEND;TZID=UTC:20261103T230000
DTSTAMP:20260503T152336
CREATED:20260407T203725Z
LAST-MODIFIED:20260410T190343Z
UID:10000213-1793734200-1793746800@foggynotions.ie
SUMMARY:TORTOISE
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/tortoise-button-factory-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/TORTOISE-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261106T200000
DTEND;TZID=UTC:20261106T230000
DTSTAMP:20260503T152336
CREATED:20260430T104446Z
LAST-MODIFIED:20260430T105234Z
UID:10000221-1793995200-1794006000@foggynotions.ie
SUMMARY:PELICAN
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/pelican-dublin-november-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/PELICAN-Instagram-Post-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261119T193000
DTEND;TZID=UTC:20261119T230000
DTSTAMP:20260503T152336
CREATED:20260225T095236Z
LAST-MODIFIED:20260225T095836Z
UID:10000191-1795116600-1795129200@foggynotions.ie
SUMMARY:THE PROCLAIMERS
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-proclaimers-national-stadium-dublin-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/02/The-Proclaimers-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261119T200000
DTEND;TZID=UTC:20261119T230000
DTSTAMP:20260503T152336
CREATED:20260319T093918Z
LAST-MODIFIED:20260319T114526Z
UID:10000199-1795118400-1795129200@foggynotions.ie
SUMMARY:SEAMUS FOGARTY
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/seamus-fogarty-bello-bar-november-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/03/Seamus-Fogarty-Corner.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261123T200000
DTEND;TZID=UTC:20261123T223000
DTSTAMP:20260503T152336
CREATED:20260429T084616Z
LAST-MODIFIED:20260429T093948Z
UID:10000220-1795464000-1795473000@foggynotions.ie
SUMMARY:JON HOPKINS
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-hopkins-national-concert-hall-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/Jon-Hopkins-Website.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261124T200000
DTEND;TZID=UTC:20261124T230000
DTSTAMP:20260503T152336
CREATED:20260420T212314Z
LAST-MODIFIED:20260421T134214Z
UID:10000217-1795550400-1795561200@foggynotions.ie
SUMMARY:LEENALCHI
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/leenalchi-dublin-november-2026/
ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2026/04/Leenalchi-Website.jpg
END:VEVENT
END:VCALENDAR