nish bae
LightNews LightNews
banner
nishbae.bsky.social
nish bae
@nishbae.bsky.social
1.8K followers 770 following 3.4K posts
turn soft and lovely anytime you have a chance
Posts Replies Media Videos
nishbae.bsky.social
This made me realize I've spent so much time spotting AI images that I could probably fuck up one of those "spot the difference" books at world record speed
November 12, 2025 at 8:01 PM
nishbae.bsky.social
Lost Lake in Cap Hill is a perfect hangout spot
November 8, 2025 at 9:43 PM
Reposted by nish bae
kye.bgay.social
57.
July 19, 2025 at 9:36 PM
nishbae.bsky.social
Ahhh I see I see
November 7, 2025 at 6:03 PM
nishbae.bsky.social
Wait wasn't there a trans collective that made a commune/farm and everyone was trained with guns but it ended up being a total shitshow? This was a few years ago I don't remember the details
November 7, 2025 at 5:59 PM
nishbae.bsky.social
The film makes you look like Joseph Stalin is about to edit you out
November 7, 2025 at 4:52 AM
nishbae.bsky.social
oh jesus lmao
November 6, 2025 at 4:56 PM
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
Reposted by nish bae
jazzpomegranate.com
last year, @netscape.bsky.social asked me a question that would change my life: "what if indiana jones was looking for yakub?"
November 6, 2025 at 4:46 AM
nishbae.bsky.social
Amy always bopping this when I come over
November 4, 2025 at 11:32 PM
nishbae.bsky.social
A drawing I made of Misato drinking a Four Loko
November 4, 2025 at 10:47 PM
nishbae.bsky.social
One time I bought weed that was supposed to help with pain and it did, but I also couldn't stop thinking about death
November 3, 2025 at 9:36 PM