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nishbae.bsky.social
nish bae
@nishbae.bsky.social
1.8K followers 780 following 3.4K posts
turn soft and lovely anytime you have a chance
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nishbae.bsky.social
Pulling up like
Hunter from Spyro 2
November 29, 2025 at 8:01 AM
nishbae.bsky.social
Graffiti: "This is just like r/futanaripiss
November 28, 2025 at 7:09 AM
nishbae.bsky.social
rat on the goreshit femtanyl lamp
Rat on the goreshit femtanyl lamp
November 28, 2025 at 4:17 AM
nishbae.bsky.social
I have *got* to be sluttier
Nish Bae posing and wearing black Nish Bae in the same outfit but a different pose
November 28, 2025 at 2:49 AM
nishbae.bsky.social
2/2
I did have friends at school but I still found myself lonely and insecure, as most high schoolers are. Many of my dating experiences started on the internet. There was a Minecraft server I frequented in which my girlfriend and I were crowned “server royalty” and given moderator privileges. I think the admins were all in their 20’s and thought it was amusing to keep us around even though we were far too young to know how to responsibly run any sort of online community. One of my partners was actually pre-transition transmasc, not out at school but role-playing as various male anime protagonists online. Not all of my experiences were so pleasant. At some point I had begun talking to this girl from Alberta who quickly became obsessed with me. She would send me messages every day, begging for me to love her back. Occasionally I would give in, and we would try dating through video calls and messaging apps but it never lasted. This would only enable her stalking behavior further, and the whole cycle would repeat again. One time a pretty girl messaged me and expressed immediate affection. For a few days I was smitten, but when she got frustrated that I wouldn’t sext with her, she suddenly blocked me. I would later find out that she never existed, some unknown actor with ill intentions who had been flirting with multiple kids at my school. I don’t think this version of the internet exists anymore. Everything is way more centralized, and algorithms have taken away the agency of stumbling into a weird corner of the internet and digging around to find more. The places that still feel like this era of the internet are slowly dying, either closing their doors due to a dwindling userbase or being morphed into the AI-ridden engagement factories that seem all too common. Obviously the older eras of the internet were far from perfect. In a lot of ways it was a pretty awful place to grow up in, but it was also equally comforting and inspiring. When I listen to Ninajirachi’s I Love My Computer, I see someone who lived through that same experience. The isolation, the experimentation, the weird relationships and the desire to build something meaningful out of computer parts and creative software. Beneath the house beats and hyperpop influences lies a beating heart full of Nightcore AMVs, Creepypastas, Skype messages and Miniclip flash games. IYKYK.
November 27, 2025 at 1:26 AM
nishbae.bsky.social
1/2
I built my first computer when I was 15. I had been spending years earlier using a hand-me-down laptop that barely worked, running Minecraft at 12 FPS and attempting to pirate games I couldn’t afford on websites that flooded it with malware. I had a phone with 1GB of storage on it, just enough space to hold a dozen albums that I would play on wired Sony earbuds that only worked if I kept the aux port bent at a certain angle with tape and elastics. I was only able to afford a new computer by working at my step-dad’s landscaping company for the summer, a job I loathed but ultimately came to appreciate when I saw the $1300 sitting in my bank account. It was just enough to build a mid/high range PC, one that wasn’t going to run Witcher 3 on max settings, but at least it would run. I nearly broke it in my attempt to put all the pieces together, and I would find out years later that I didn’t even attach the motherboard properly, but when it finally booted into the Windows 10 desktop I was elated. Being a teenager on the internet in the mid-2010’s was a strange time. Parents and teachers understood the internet in broad strokes, but there was no way I was going to explain to them what “Vaporwave” or “The Nostalgia Critic” were. When my parents saw me watching Youtube, they couldn’t understand why I was so drawn to these scrappy, unprofessional creators shooting videos in their bedroom when I could be watching normal TV. Memes that became funny due to their relationship to the internet were completely impenetrable when they were removed from their context and shown to someone whose relationship to the internet started and ended with posting vacation photos on Facebook. At the same time, the internet wasn’t centralized, so even though I was connected with billions of users I was also hanging out in rather insular communities that often felt more like I was talking to myself than engaging with any sort of friend circle. For me, it was obscure music forums that were populated by middle aged men obsessed with 70’s progressive rock, and Australian Facebook pages that spoke in culturally specific slang I could barely understand. It was an experience I found impossible to share with others, and something I hadn’t even seeked out on purpose. I just stumbled into these spaces and found a strange comfort within them. I felt desperate to contribute something to the internet. I spent a whole summer toying with the free version of Game Maker, building crude versions of Zelda and the real-time strategy games I enjoyed. My favorite activity was to download other creator’s games and tinker with their project files, replacing sprites with things I created for my own amusement. I had a Deviantart full of comic strips based on my Pokemon Emerald Nuzlocke playthroughs, but I didn’t really know how to use Deviantart so no one ever saw them. Inspired by the Let’s Players and game review channels I watched, I even tried to make Youtube videos myself, but quickly realized that no one wanted to hear a socially awkward teenager talk about Super Nintendo games with rudimentary video and audio software. Pretty much everything I mentioned is lost to time. I would often delete things I posted if I found them even the slightest bit embarrassing.
November 27, 2025 at 1:25 AM
nishbae.bsky.social
Album Review - I Love My Computer
Album Review - Ninajirachi: I Love My Computer
November 27, 2025 at 1:24 AM
nishbae.bsky.social
Real orange juice vending machine ?
Real orange juice vending machine with real oranges in it
November 26, 2025 at 6:03 AM
nishbae.bsky.social
gooood grief !
Nish Bae in a Peanuts themed Baseball shirt leaning forward Nish Bae in a Peanuts themed Baseball jersey smirking
November 25, 2025 at 5:25 AM
nishbae.bsky.social
2/2
The middle of the album does settle into a slight lul. “Stardust” moves away from the album’s classical influences, instead toying with some krautrock-influenced percussion and heavy synthwork. There’s still a touch of strings and horns that provide the track some extra texture, but it’s mostly aiming for something quite different. I don’t think it justifies its 7-minute length but I appreciate Hausswolff’s willingness to experiment. I was quite excited to hear the collaboration with Ethel Cain, but it actually makes for one of the album’s milder cuts. Similar to the track with Iggy Pop, the album’s more daring ideas are put aside to give room for the two lead vocalists to show off. The lyrics are great, (“Some fallen angels told us to keep our heads high / But one said, "You will burn on the stake / In the crumbled chest of a kindness, your heart will break") but it lacks a bold statement The album roars back to life with “Struggle With The Beast”, which reworks the saxophone melody from the album’s first track, building upon it to craft a harrowing 8-minute epic. Hausswolff sings about going to the hospital, experiencing some sort of emotional crisis: “I'm scaring my sister and my mom / My eyes aren't human, but they're calm / The sun is in hiding” Since the first track to use this saxophone melody is titled “The Beast”, there’s the implication that the beast in question is Hausswolff’s mental state, characterized by this inescapable melody that looms over her. Even when the melody isn’t present, horns wail and drums frantically suffocate Hausswolff as she yells, “People are dying while I'm playing dead / I'm fucked up in my head”. It’s terrifying and brilliant, and you’re likely to never forget that saxophone melody Following this, we get “An Ocean of Time”, which moves in an ambient direction. It’s mostly instrumental, with Hausswolff’s vocals drifting in and out of the track like a siren lost in the fog. At nearly 8 minutes it invites you to get lost in its soundscape as well. Your enjoyment will depend on how much you can appreciate its subtle composition choices. Even though “Unconditional Love” is not the final track, it narratively closes out the album, bringing together many of the album’s themes on the passage of time, moving on from difficult stages in your life, and struggling to build a better future for yourself. The instrumentals carry a sad finality to them, more focused on building a sombre atmosphere than the heavy complexity of some of the album’s earlier compositions. As Hausswolff sings “Until we fall”, the strings and layers of bassy synths flood the mix, providing a dramatic conclusion to her inner strife. It’s a beautiful cut that gives Hausswolff a heavy-hearted sendoff, as the final track is purely instrumental. It’s an ambient cut that’s pleasant, but doesn’t add a whole lot to the finale What a densely layered, rich, beautiful record! Iconoclasts is an inspiring blend of genres that still manages to craft an aesthetic purely of its own. At its best it’s one of 2025’s most stunning releases, and even its weaker songs have something worthwhile, like interesting guest features or ambitious sonic detours. A must-listen if you’re in the mood to hear something truly creative
November 19, 2025 at 11:39 PM
nishbae.bsky.social
1/2
I must confess that I am a bit late to the party on Anna von Hausswolff. I was first made curious by this record’s Ethel Cain feature, but eventually came to learn that Hausswolff has in fact been a celebrated artist in her own right for years! Fortunately, this is the best time to dive into her music, as Iconoclasts is a fantastic blending of genres and one of 2025’s most compelling releases What’s immediately striking is how fantastic the saxophone sounds. “The Beast” opens the record with this repeating saxophone melody that eventually gets swallowed up by a cacophony of droning synths and bassy distortion. What’s left in its wake is a desolate horn performance that sounds quite sad, as if it were an epitaph for someone. The record continues to impress with “Facing Atlas”. Hausswolff flexes her vocal abilities, dominating the track with a performance that’s massive and delicate at the same time. The whole track glistens with beauty; heavenly synths and sparkling percussion turn this into an angelic assertion of Hauswolff’s agency: “It's no fun to stay / Can't we just break free from ourselves” The title track brings together everything Hausswolff and her collaborators do best into an 11-minute behemoth. Heavy drums pulsate beneath Hausswolff’s soaring vocals as she dreams of a different world: “Find thе abundance in your life / Cut out the anger with a knife / Look at it wildly, let it go / And accept the freedom in your soul”. The song morphs into a crashing, swirling brew of distortion and horns, eventually spiralling out in a totally different direction. Otis Sandsjö’s incredible saxophone work takes centre stage, strings swell, and then Hausswolff returns, this time with a sombre delivery and an existentialist attitude: “Can I protect you, Godly creation / And denounce everything I call mine?”. It’s an ambitious, frankly inspiring artistic statement. A dazzling light in the album’s first third “The Whole Woman” is a lovely duet between Hausswolff and Iggy Pop. It’s not one of the more adventurous cuts, but makes up for it with how well the two singers pair with each other. Hausswolff is the elegant songstress, and Pop (at age 78!) is the weathered crooner. He’s channeling a bit of that Johnny Cash weariness, and it’s a style that really suits him. “The Mouth” excels by way of its orchestral grandiosity. As Hausswolff sings, “The sky opens up / I'm high and cannot stop” she’s enveloped in a blanket of strings and backing vocals. During the song’s outro, horns shriek around her as the song’s ornate structure begins to crumble into a mess of discordant pieces. It’s a demonstration of one of the album’s strongest attributes: its ability to balance classical composition styles with the boundless experimentation of post-rock
November 19, 2025 at 11:38 PM
nishbae.bsky.social
Album Review - Iconoclasts
Album Review - Anna von Hausswolff: Iconoclasts
November 19, 2025 at 11:36 PM
nishbae.bsky.social
here's a guy i drew once
a crocodile holding a gun "u mess with crocc u get glocc"
November 19, 2025 at 8:25 PM
nishbae.bsky.social
I fixed it to make it less annoying 😃👍
The same chart as before with the same drawings and archetype names, but all the descriptions have been replaced with the official bios of every Bloodborne weapon
November 19, 2025 at 3:37 AM
nishbae.bsky.social
*nishes ur bae*
Nish Bae in purple lighting wearing purple shades
November 14, 2025 at 2:46 AM
nishbae.bsky.social
Post 1: "Hang on I need to Google something to see if this is funny" Post 2: "I am now on a watchlist"
November 11, 2025 at 6:30 AM
nishbae.bsky.social
Outside of the album’s subject matter is where Getting Killed demonstrates its strangest tendencies. “Trinidad” is a concerted attempt to make blues music sound as unhinged as possible. The percussion cuts in and out, smashing around in the left and right channels as the sound fights to keep its structure. In between Winters screaming, “THERE’S A BOMB IN MY CAR” he details a life that’s crumbling in disturbing and surreal ways: “My son is in bed / My daughters are dead / My wife's in the shed / My husband's burning lead”. The manic cacophony of shouting and instrumental anarchy leads me to believe that the bomb is a threat; Winter’s last resort to crawl out of a doomed existence. “Cobra” is a devious following track. On a casual listen it might come across as bright and sentimental, but on a closer listen the instrumentals sound anxious and discordant. Harsh guitars tumble their way through the heavy bass at the periphery of the mix. When you notice this, the cheerful lead guitar and vintage keys sound intentionally misleading and a little uncanny. This is generally the approach on the whole album. Whatever simple arrangements the songs open with get cluttered by a grab bag of strange guitar flourishes and percussive elements that always sound just a bit out of place. “Husbands” lurches forward on each beat, as the various members create a complex indie rock palette. The percussion is the standout, sounding like a shambling, contorted beast of rhythm. The aforementioned “100 Horses” features Winter bellowing out his vocals as if he were giving a sermon. The rumbly, dirty riffs are excellent, and the piano that comes in towards the back half gives the song’s flurry of instrumentals that extra turbulence. The closer is the album’s most harrowing cut. The instrumentals anxiously rise in tempo around Winter, as if he were forcing them to accelerate under gunpoint. Eventually the band hits a breaking point, but then they just build the intensity right back up again. At points it’s a bit frightening, but also impressive at how far the band is able to push themselves. If you’re unsure whether these are compliments, that’s because I’m not quite sure either. Getting Killed is a frankly headscratching listen. I’ve enjoyed plenty of music that’s more abrasive and overstimulating, and yet it’s this specific mixture of layered, choppy instrumentals that I often find overwhelming to parse. That’s not to say these tracks are bad, but the generally approachable bluesy exterior of Getting Killed conceals a dense behemoth of complexity. Perhaps this is why, over a month following its release, I’m still left puzzled as to how I completely feel about the record. Not every track is as heavily layered, and there’s a small handful of subdued cuts that really benefit the album’s pacing, but I found it to be a surprisingly challenging listen. Do I recommend Getting Killed? Yeah I think I do. The multi-headed-hydra approach to songwriting makes this one of the most unique albums I’ve heard in ages, and Winter’s lyricism is consistently fantastic. I’m so glad that such a daring musical project is getting this much attention, and to be honest I think I prefer art when it leaves me confused and a little uncomfortable.
November 6, 2025 at 6:15 AM
nishbae.bsky.social
I have been struggling to figure out how I feel about Geese. When 3D Country dropped, I was mostly impressed by its unique take on the country aesthetic, but it never quite got its claws into me the way it did for others. When Cameron Winter dropped Heavy Metal late last year, I took it as an opportunity to really try and figure out what I had been missing. Truthfully, Heavy Metal’s more intimate approach resonated with me a lot more, and it would have probably ranked high on my list of best 2024 records had it not dropped so late in the year. In late September, Geese returned in full with Getting Killed, which I can best describe as being trapped in the Willy Wonka tunnel for 45 minutes. Winter’s lyrics read like a man crashing out over his breakup in real time. He’s antagonistic towards his former lover on “Cobra” while also yearning for her. He follows up on this situation during “Au pays du cocaine” where he’s willing to put himself in an obviously unhealthy situation for her: “Baby, you can stay with me and nobody would care / You can stay with me and just pretend I’m not there”. He’s fighting with his ex-lover’s new partner on “Half-Real” but eventually concedes and begs to be spared from his anguish: “I've got half a mind / To just pay for the lobotomy / And tell 'em, ‘Get rid of the bad times / And get rid of the good times too’”. He spends much of the first two thirds in anguish over this breakup, and eventually tries to find god to bring him out of turmoil. He attempts to reform his life in devotion to God on “Bow Down”, but an angel challenges him: “She said ‘You don't know what it's like / To bow down to Maria's dead bones’”. Winter speaks to several different deceased figures on the closing track, “Long Island City Here I Come” looking for guidance in his art and receiving hard truths in return: "A masterpiece belongs to the dead / There are microphones under your bed / And there's footage that will prove us both wrong". Here, Long Island City is a metaphor for the afterlife, and he ends the song by describing a handful of characters that either fight against, or embrace their own death. Winter ultimately chooses to embrace his. For how conceptual the album can feel, it occasionally detours into some other subject matter. “100 Horses” is an absurdist anti-war track featuring some of the most striking lines on the album: “He said that I would never smile again / But not to worry / For all people stop smiling / Once they get what they've been begging for”. I’m also moved by “Islands Of Men”, where Winter tries to convince a closeted trans woman to embrace who she truly is. I actually had no idea Geese had a transfem guitarist, and it’s sweet that he would include a track that would feel especially personal to her and the trans Geese fans.
November 6, 2025 at 6:14 AM
nishbae.bsky.social
Album Review - Getting Killed
Album Review Geese Getting Killed
November 6, 2025 at 6:13 AM
nishbae.bsky.social
A drawing I made of Misato drinking a Four Loko
November 4, 2025 at 10:47 PM
nishbae.bsky.social
i am obsessed with fluffy instagram dogs
some fluffy little dog I saw on instagram, face looks kinda flat my "artistic interpretation" of this dog and its flat face
November 3, 2025 at 3:20 AM
nishbae.bsky.social
"Santaverse" IT'S CALLED FUCKING CHRISTMAS
Elf On The Shelf figure. It's branded as "Santaverse"
November 1, 2025 at 9:36 PM
nishbae.bsky.social
Earlier this year I was commissioned to illustrate this 3-page comic. Unfortunately the author ripped me off and I was never paid, but I would still like to share my work with you because I am very happy with how it turned out 💜
Panel 1 - a girl and her robot walks to the entrance of a temple Panel 2 - A commander-looking man says something to his robot assistant Panel 3 - The assistant looks nervous Panel 4 - the girl tries to open a locked door. a snake sneaks up on her Panel 5 - The snake is about to strike but the girl sees it Panel 6 - the girl cuts the snake in half and her robot unlocks the door Panel 1 - The girl pushes some cobwebs aside Panel 2 - The girl avoid a spike trap Panel 3 - The girl navigates deeper into the temple Panel 4 - The girl walks past an old broken robot Panel 5 - The girl uses a crowbar to push open a brick wall Panel 6 - The girl and her robot attempt to break into the floor below Panel 1 - The girl and her robot hop into the floor below. It's some sort of computer room Panel 2 - The robot hacks a computer Panel 3 - A sentient plant vine sneaks up on them Panel 4 - The girl is about to be eaten by a huge plant monster. Her robot companion is still hacking
November 1, 2025 at 6:53 PM
nishbae.bsky.social
Day 31 #art
A hand catches lightning in a bottle
November 1, 2025 at 12:03 AM
nishbae.bsky.social
3 - Ultraviolence - The rock production does wonders for Lana. The first half of this album is a near-flawless run of tracks. It stumbles a bit in the second half but it sticks the landing with a great Nina Simone cover 2 - Norman Fucking Rockwell - Lana unshackles herself from the character she invented and writes her most honest work up to this point. Gorgeously produced, written and packed front-to-back with incredible songs. NFR permanently altered the trajectory of Lana’s career 1 - Did You Know That There’s A Tunnel Under Ocean Blvd - Lana invites a handful of collaborators to help her in crafting the most personal work of her career. In place of pop appeal, Lana creates a gorgeous piano-led singer-songwriter work of art
October 31, 2025 at 7:44 PM