BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Foggy Notions - ECPv6.15.15//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:http://foggynotions.ie X-WR-CALDESC:Events for Foggy Notions REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20240101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=UTC:20251101T190000 DTEND;TZID=UTC:20251101T233000 DTSTAMP:20260617T141002 CREATED:20251016T193126Z LAST-MODIFIED:20251024T211717Z UID:10000100-1762023600-1762039800@foggynotions.ie SUMMARY:JAZZ SABBATH DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n Decrease ticket quantity for HOLY FUCK\n -\n \n\n \n Quantity \n \n\n \n Increase ticket quantity for HOLY FUCK\n +\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/jazz-sabbath-sugar-club-dublin-november-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/JAZZ-SABBATH-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251030T200000 DTEND;TZID=UTC:20251030T230000 DTSTAMP:20260617T141003 CREATED:20251014T131030Z LAST-MODIFIED:20251029T154832Z UID:10000041-1761854400-1761865200@foggynotions.ie SUMMARY:MARK WILLIAM LEWIS DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/mark-william-lewis-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/MWL-Website-SO.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251027T193000 DTEND;TZID=UTC:20251027T230000 DTSTAMP:20260617T141003 CREATED:20251014T125607Z LAST-MODIFIED:20251014T130754Z UID:10000040-1761593400-1761606000@foggynotions.ie SUMMARY:FRAZEY FORD DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/frazey-ford-button-factory-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Frazey-Ford-Website-SO.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251026T200000 DTEND;TZID=UTC:20251026T230000 DTSTAMP:20260617T141003 CREATED:20251015T184550Z LAST-MODIFIED:20251024T211046Z UID:10000072-1761508800-1761519600@foggynotions.ie SUMMARY:GHOSTWOMAN DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/ghostwoman-grand-social-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/GHOSTWOMAN-Website-Poster.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251025T150000 DTEND;TZID=UTC:20251025T230000 DTSTAMP:20260617T141003 CREATED:20251014T123359Z LAST-MODIFIED:20251014T124931Z UID:10000039-1761404400-1761433200@foggynotions.ie SUMMARY:HAUNTED DANCEHALL DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/haunted-dancehall-dublin-october-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Haunted-Dancehall_1080x1080.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251023T200000 DTEND;TZID=UTC:20251023T230000 DTSTAMP:20260617T141003 CREATED:20251015T183400Z LAST-MODIFIED:20251015T184111Z UID:10000071-1761249600-1761260400@foggynotions.ie SUMMARY:NIALL MCNAMEE DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/niall-mcnamee-whelans-october-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/NIALL-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251023T200000 DTEND;TZID=UTC:20251023T230000 DTSTAMP:20260617T141003 CREATED:20251015T180333Z LAST-MODIFIED:20251015T180914Z UID:10000070-1761249600-1761260400@foggynotions.ie SUMMARY:YHWH NAILGUN DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/yhwh-nailgun-workmans-club-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/YHWH-Website-S.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251018T200000 DTEND;TZID=UTC:20251018T230000 DTSTAMP:20260617T141003 CREATED:20251014T121220Z LAST-MODIFIED:20251014T123106Z UID:10000038-1760817600-1760828400@foggynotions.ie SUMMARY:HARD SKIN DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/hard-skin-bello-bar-dublin-october-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/10/Hard-Skin-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251015T200000 DTEND;TZID=UTC:20251015T223000 DTSTAMP:20260617T141003 CREATED:20250806T202340Z LAST-MODIFIED:20251014T125302Z UID:10000036-1760558400-1760567400@foggynotions.ie SUMMARY:ROBERT FORSTER DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/robert-forster-national-concert-hall-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/08/ROBERT-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251011T200000 DTEND;TZID=UTC:20251011T230000 DTSTAMP:20260617T141003 CREATED:20250806T195447Z LAST-MODIFIED:20250806T200756Z UID:10000034-1760212800-1760223600@foggynotions.ie SUMMARY:BROADSIDE HACKS RECORDINGS TOUR DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/broadside-hacks-recordings-tour-dublin-2025/ ATTACH;FMTTYPE=image/png:http://foggynotions.ie/wp-content/uploads/2025/08/11-Bellobar-Dublin-♕-Foggy-Notions-web.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251010T200000 DTEND;TZID=UTC:20251010T230000 DTSTAMP:20260617T141003 CREATED:20250806T194743Z LAST-MODIFIED:20250806T195113Z UID:10000033-1760126400-1760137200@foggynotions.ie SUMMARY:NIAMH REGAN DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/niamh-regan-bello-bar-october-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/Niamh-Website-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251007T200000 DTEND;TZID=UTC:20251007T230000 DTSTAMP:20260617T141003 CREATED:20250806T193645Z LAST-MODIFIED:20250806T194242Z UID:10000032-1759867200-1759878000@foggynotions.ie SUMMARY:GANAVYA DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/ganavya-sugar-club-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/ganavya-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251006T183000 DTEND;TZID=UTC:20251006T230000 DTSTAMP:20260617T141003 CREATED:20250806T192508Z LAST-MODIFIED:20250806T192907Z UID:10000030-1759775400-1759791600@foggynotions.ie SUMMARY:PATTI SMITH DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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-horses-3arena-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/PATTI-Website-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251004T200000 DTEND;TZID=UTC:20251004T230000 DTSTAMP:20260617T141003 CREATED:20250806T193044Z LAST-MODIFIED:20250806T193407Z UID:10000031-1759608000-1759618800@foggynotions.ie SUMMARY:JOHN GRANT DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \n \n \n \n \n \n \n \n LISTEN NOW \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n ALL SHOWS URL:http://foggynotions.ie/concerts/john-grant-national-stadium-dublin-october-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/JOHN-GRANT-Website-3.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20251004T200000 DTEND;TZID=UTC:20251004T230000 DTSTAMP:20260617T141003 CREATED:20250806T191409Z LAST-MODIFIED:20250806T192030Z UID:10000029-1759608000-1759618800@foggynotions.ie SUMMARY:VRAELL DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/vraell-grand-social-dublin-october-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/Vraell-New-Website-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20250926T200000 DTEND;TZID=UTC:20250926T230000 DTSTAMP:20260617T141003 CREATED:20250806T180957Z LAST-MODIFIED:20250806T182034Z UID:10000026-1758916800-1758927600@foggynotions.ie SUMMARY:SIR RICHARD BISHOP DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/sir-richard-bishop-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/Richard-Bishop-Instagram-Post-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20250919T193000 DTEND;TZID=UTC:20250919T223000 DTSTAMP:20260617T141003 CREATED:20250806T163742Z LAST-MODIFIED:20250806T164423Z UID:10000024-1758310200-1758321000@foggynotions.ie SUMMARY:MICHAEL ROTHER DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/michael-rother-neu-button-factory-september-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/Michael-Rother-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20250911T200000 DTEND;TZID=UTC:20250911T230000 DTSTAMP:20260617T141003 CREATED:20250806T161520Z LAST-MODIFIED:20250806T163357Z UID:10000023-1757620800-1757631600@foggynotions.ie SUMMARY:AGRICULTURE DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/agriculture-workmans-club-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/Agriculture-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20250906T200000 DTEND;TZID=UTC:20250906T230000 DTSTAMP:20260617T141003 CREATED:20250806T160359Z LAST-MODIFIED:20250806T161200Z UID:10000022-1757188800-1757199600@foggynotions.ie SUMMARY:DUCKS LTD DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/ducks-ltd-bello-bar-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/Ducks-Ltd-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20250905T200000 DTEND;TZID=UTC:20250905T230000 DTSTAMP:20260617T141003 CREATED:20250806T145709Z LAST-MODIFIED:20250806T150353Z UID:10000021-1757102400-1757113200@foggynotions.ie SUMMARY:RYAN DAVIS & THE ROADHOUSE BAND DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/ryan-davis-and-the-roadhouse-band-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/Ryan-Davies-web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20250829T200000 DTEND;TZID=UTC:20250829T230000 DTSTAMP:20260617T141003 CREATED:20250806T143807Z LAST-MODIFIED:20250806T144727Z UID:10000020-1756497600-1756508400@foggynotions.ie SUMMARY:HANNAH FRANCES DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/hannah-frances-bello-bar-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/08/Hannah-Frances-Website-copy.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20250827T200000 DTEND;TZID=UTC:20250827T230000 DTSTAMP:20260617T141003 CREATED:20250806T142141Z LAST-MODIFIED:20250806T144816Z UID:10000019-1756324800-1756335600@foggynotions.ie SUMMARY:KASSIE KRUT DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/kassie-krut-bello-bar-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/07/Kassie-Krut-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20250822T200000 DTEND;TZID=UTC:20250822T230000 DTSTAMP:20260617T141003 CREATED:20250729T193000Z LAST-MODIFIED:20250729T193516Z UID:10000014-1755892800-1755903600@foggynotions.ie SUMMARY:THROWING MUSES DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/throwing-muses-whelans-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/Throwing-Muses-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20250821T200000 DTEND;TZID=UTC:20250821T230000 DTSTAMP:20260617T141003 CREATED:20250729T182349Z LAST-MODIFIED:20250804T205736Z UID:10000013-1755806400-1755817200@foggynotions.ie SUMMARY:Jackie-O Motherfucker DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/jackie-o-motherfucker-workmans-dublin-2025/ LOCATION:Workman’s Club ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2025/07/JACKIE-O-Instagram-Post.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20250819T200000 DTEND;TZID=UTC:20250819T230000 DTSTAMP:20260617T141003 CREATED:20250729T175717Z LAST-MODIFIED:20250729T180914Z UID:10000012-1755633600-1755644400@foggynotions.ie SUMMARY:Provoker DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/provoker-bello-bar-dublin-2025/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/PROVOKER-Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20250818T070000 DTEND;TZID=UTC:20250818T230000 DTSTAMP:20260617T141003 CREATED:20250729T172254Z LAST-MODIFIED:20250729T174905Z UID:10000011-1755500400-1755558000@foggynotions.ie SUMMARY:Melvins DESCRIPTION:FOGGY NOTIONS PRESENTS\nHOLY FUCK\nSPECIAL GUESTS\nTHE ITCH\nBUTTON FACTORY\n19TH SEPTEMBER \n \n \n \n \n \n \n \n \n \n\n \n \n \n\n \n\n \n\n\n\n Tickets\n\n \n \n \n The numbers below include tickets for this event already in your cart. Clicking "Get Tickets" will allow you to edit any existing attendee information as well as change ticket quantities. \n\n\n \n\n \n \n HOLY FUCK \n\n\n\n\n BUTTON FACTORY\n19TH SEPTEMBER\nOVER 18'S ID REQUIRED\n\n\n \n \n €24.50 \n\n\n \n\n\n \n 25 available\n\n\n \n\n\n \n \n\n \n Quantity \n \n\n \n\n \n \n \n\n\n Tickets are limited to 9 per order \n\n \n \n \n Quantity: \n 0\n\n\n \n \n Total: \n \n €0.00 \n\n\n Get Tickets\n\n \n \n\n\n \n \n \n \n\n \n \n\n \n \n\n\n\n \n\n \n\n\n \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 Foggy Notions are proud to present Holy F**K & Special Guests The Itch live at Button Factory on Saturday 19th September. Final tickets on sale now. HOLY FUCK – ‘EVENT BEAT’ At a time when even entire classic rock bands are being AI generated\, Holy Fuck are now more relevant than ever. The Canadian quartet have forged their reputation for making electronic music with a human touch. While many artists create that core electronic via laptops\, loops and drum machines\, Holy Fuck keep every element as live as possible. The intoxication they inspire comes not from cold\, staid perfection\, but from the ragged energy that comes from four musicians relishing sharing a moment. Factor in the chaos born from improvisation and skipping a click track in favour of loose\, raw\, real percussion\, and it’s easy to see why Holy Fuck are renowned for their pulsating\, unorthodox thrills. As the passage of time marches to its own relentless beat\, it’s almost frightening to note that it has been six years since their previous set\, 2020’s ‘Deleter’. Given the well-documented events that followed that year\, the normally road-weary band – Brian Borcherdt\, Graham Walsh\, Matt ‘Punchy’ McQuaid and Matt Schulz – spent two years entirely apart from each other. In March 2022\, they finally reconvened in an old village hall in rural Nova Scotia. The main purpose was to simply reunite and rehearse\, but new song ideas soon flowed out of them. And that was the starting point for their upcoming album ‘Event Beat’. “The catalyst for this record and the beginning of the recordings that we did was us just getting back together again\,” states Graham. “It was something unique to us. It was all of us living together one in space and with no distractions and just working on music in the middle of nowhere. It’s a way I really like to work. For at least half of the songs on the record\, it was just us holed up together. Which was great!” Intuition\, muscle memory\, an almost telepathic link? Call it what you will but the shared synapses between the quartet were soon fired up. “Having our own language that we can speak so easily together is really important to us\,” asserts Brian. “We all have our own piece to bring to the conversation\, and it’s idiosyncratic to us because we’ve been dedicated to it for so long. Hopefully that’s encouraging to other bands who feel like they’re on a similar path.” Nonetheless\, there were challenges. At one point a storm knocked out the power\, forcing them to start up a generator. More importantly was the presence of a local who objected to the volume of their sessions. You can talk long into the night about musical influences\, but nothing shapes the direction of a record quite like the practical obstacle of having to placate a neighbour. “That became a production challenge\,” notes Graham. “We still wanted to jam\, but while being as quiet as possible. Matt couldn’t hit the drums really loud. So we made these more low-key ambient things. It was like\, how quiet can we be and still do what we do?” Brian concurs. “We were making these quite pastoral\, vibey soundscapes\, and I thought we were going to have an ambient record on our hands. I thought this was going to be almost like new age music or something.” Hitting play on ‘Event Beat’ reveals that Holy Fuck totally circumvented that idea\, as opening track ‘Evie’ swirls between pulsating bass\, punk-funk grooves and luminous synth flourishes to offer an hypnotic calling card for the rest of the album. It was an idea that dated back until 2016’s ‘Congrats’ and that was salvaged after Brian spent six years listening to its initial idea on headphones until they could unlock what made it work. It also provides what he calls an “infinity loop” or a “streaming hack” for fans who play the album on repeat\, as the end of the final song\, the title track\, loops straight into the ‘Evie’ intro. At the other extreme\, ‘Gold Flakes’ is a typical “Holy Fuck studio jam” driven by Matt McQuaid’s rolling bass. But its dreamy Krautrock march is given an additional flair with a flurry of musique concrète-style sound collage elements which unveils more details with each repeated listen. Instigating movement more than provoking than the mind is the swaggering ‘Czar’\, full of popping J. Dilla-ish bass\, happy accidents and random chaos that is proving to be a challenge as they plan future live shows. As Brian sighs\, “I’ll have to get really tight with my imperfections.” ‘Elevate’ is the one track that leans most heavily into those new age preconceptions\, but with Holy Fuck being Holy Fuck it takes a detour into the unexpected and keeps layering up fresh sonic elements at every turn. “I really like those epic techno songs like Orbital and Underworld\,” smiles Graham. “This was my attempt at something like that. Just dance floor euphoria.” Throughout the record\, the vocals drift through the ether like a conversation with an imaginary friend. There’s no overarching concept\, but Brian highlights a recurring motif of momentum “towards something that is beyond personal control\, either at the mercy of some bigger system or some unspoken will.” And while ‘Deleter’ called upon guest vocals more than ever\, this time they’re conspicuous only by their absence. There was no grand strategy though\, just the realisation that the record excelled without them. Brian did\, however\, call on two members of his spacious semi-classical ambient project Quilting: Mairi Chaimbeul who contributed harp to title-track ‘Event Beat’\, and Sahara Jane Nasr\, the South Asian violin-like instrument the sārangī The album also emerged in the wake of an unexpected Holy Fuck rediscovery after ‘Tom Tom’ featured in a key scene in Amazon Prime Video hit animated series ‘Invincible’ – and it’s now their most streamed track with twelve times the number of its nearest competitor. Brian and Graham recall a discussion with their then-label\, who were somewhere between curious and indifferent about their choice of ‘Tom Tom’ as a lead single for the ‘Congrats’ album. As Brian continues\, “There’s something validating when something happens years later for such a random reason that you wouldn’t have predicted.” The unpredictable happened once more when ‘Lost Cool’ resurfaced in the Academy Award winning body horror ‘The Substance’. Graham took the opportunity to see it on the big screen. “I was in the big theater watching it\, and then remembering back to listening to the demo that I made of just the drum beat and the synth bassline in my car\, cranked up driving through Toronto\, just like\, this is fun. It’s kind of cool to put it all into perspective\, and have that cycle happen.” Between those spotlight moments and the vibrancy of ‘Event Beat’ and it’s clear that Holy Fuck are as relevant as ever. It can’t be attributed to any one thing. Perhaps it’s the conviction to keep going and sticking to their guns regardless of music’s latest trends. Maybe it’s the pure compulsion to keep at it even after many of their early peers have drifted away. Or it could be them setting an example to younger musicians that playing live off the floor can still be a creative thrill – as demonstrated by their incoming ‘At Work’ video performance series. “What I hope people take away from it is an appreciation is the togetherness and the humanity in the music\,” concludes Graham. “Music should be played and enjoyed together. When that raw punk sound comes off the stage you should just enjoy it and relish that experience. It’s wonderful and awesome.”  The Itch:As architects of formidably nagging hooks\, The Itch could scarcely be more aptly named. Pairing effervescent art-pop with wryly self-aware lyrics\, Simon Tyrie and Georgia Hardy make sardonic floorfillers that burrow deep under your skin and linger in your consciousness long after the music stops. Consequently\, their debut album\, It’s The Hope That Kills You\, doesn’t just demand attention\, it commands it\, withproductions that feel both playfully nostalgic and utterly contemporary. \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/melvins/ ATTACH;FMTTYPE=image/jpeg:http://foggynotions.ie/wp-content/uploads/2024/11/Melvins-Website-NEW-1.jpg END:VEVENT END:VCALENDAR