Hey, it’s Bertie

Sometimes I scream about blaseball with 20+ other people.

[strikefourth]

We have a release date!

Hello everyone, and thank you all for your patience over the many, many months we've been wrangling things behind the scenes. We're happy to say we have an absolute, 100% set in stone release date for EXPANSION, our double album covering the Expansion Era of Blaseball.

EXPANSION will release on November 6th, 2026.

If you've already ordered the album, you'll be able to download from Bandcamp on the day of. We'll be organizing a listen party closer to to celebrate the release and have one last good old garages hang.

Our inbox is open for any questions, comments, concerns and such! If there's something about your specific order you want to discuss, shoot us a message, and we'll figure out the best way to sort things.

Thanks again to everyone for your patience. We're so excited to finally open up the vault.

xoxo, the garages

[bertiefromseattle]

I have so much to say about this album, because if I’m being really honest, my fingerprints are all over it. But I’m not going to say it all at once, so let’s start at the beginning (which is a very good place to start).

PIVOT

Pivot was indisputably the first song written on Expansion. It’s a running joke amongst the garages that Bertie never misses, and I had the first cut of this song written maybe a week after the first kick off meeting.

That kick off meeting is important because we had a great pool of songwriters, and originally a double vinyl worth of time limit. So we’d allocated how many songs to a side, roughly how much time each song could have to fit on the vinyl, and the overall flow of themes from Blaseball that we’d touch at which points, then it was up to all the different songwriters to sort of preference what they wanted off the album.

And I was like “oh, I know exactly what energy I want to start this thing off with. Gimme that a slot 1.”

The actual pivot

Whilst the structure of that first draft has persisted to the final version, the evolution of the song took another couple of weeks. See, the first draft pulled a lot of influence from [REDACTED] and some initial feedback from an early songwriter’s listening party was that this sat quite at odds with the tone of the rest of the album, and perhaps drew too heavily on that source influence.

So, I pivoted and added more Bertie. This ended up adding more energy, which well… you’ll see.

The actual pivot… again

Remember how I said my fingers were all over this album. Well, I originally only had the one songwriting credit to the album, but along the ways we had a range of shifts in the album overall. There were songs partially written that had to get pulled (because song writers had become unavailable or had outgrown the people they were when the song was first drafted)… that’s life post-blaseball, right?

Well, one of those gaps eventuated in my other solo writing credit (and check those timestamps):

The thing is, that’s a lot of time interposed as a song writer, but even more importantly as a performer. The vocals on [REDACTED] eclipsed Pivot’s vocals (blaseball pun intended) so much so that it sounded like two different singers. So, in 2024 or 2025 (time blurs), I went back to Pivot and re-recorded all the vocals. And then more vocals. And then more. And then more.

And then more

I think this really summaries Expansion as a whole: so many times, we’ve individually and collectively wanted to give more. I shan’t dare trawl discord to count it, but the amount of times a songwriter would hear how someone had improved their song and responded with “well, fuck, how do I follow that?!” is … a lot.

Without big upping it too much, I think this album is really special because every track feels crafted in a way that we never could have had the time for in the original Garages blur.

But it’s also why it’s taken so long. I’ve never wanted to let any of the songs get left behind. At a certain point in the album process, I stepped in to take over some of the organisation and also took up mixing and providing production assistance to a decent chunk of the tracks as well. I’ll leave it to others to assess how much that has helped or hindered, but it does mean that all of these 21 songs (even the ones I haven’t touched directly) feel almost like my children.

And so as a tasty little treat, I’ll leave you with the (almost prophetic) opening lyrics to Pivot/Expansion:

“Bigger and better than ever before

We left you waiting, but you still want more.”

[bertiefromseattle]

Ok, continuing my series of thoughts about Expansion. I was originally going to go through in track order, but I think I’m going to bounce around instead.

13. B--t -n -he Biz (‘Biz’)

I’m fairly certain this was the first song that I provided production support on, which is to say, probably the second track I worked on. The songwriter had (fantastic) chords/melody/lyrics, but put out an open call to actually produce it into a full song. Checking the discord for timelines, I picked it up maybe a month after and started adding a few of the key design elements. My thesis was “vocal forward” and “throbbing”, take that how you will.

Another gosh dang pivot

Whilst there were innumerable delays that have contributed to Expansion, one of the biggest ones on my front was catastrophic tech failure:

My long term writing computer shat the bed entirely, and despite knowing better, I didn’t have backups of a lot of the projects. I also was in a position where I could neither afford to get it repaired or replaced, which meant it looked like it might have been curtains for Bertie’s contributions. My memory is a bit hazy here, but I’m fairly certain I never managed to recover the original project files.

The solve came many months later, when - unable to access the original computer - I started to reconstruct the song from scratch using an old buster laptop. This was slow and laborious as I had

vastly less processing power, requiring me to work track by track.

very few of my plugins (and even fewer of my ‘go to’ patches), requiring me to try and rebuild sounds from scratch

only one or two exports of the original mix to try and work from.

We’re somewhere at the 2 year point by now.

The process

Around another year later is when I stepped into the project management/co-ord role to try to assess the album and help get it all together. We’ve had a range of fantastic people across the album’s life (shout outs to Rain, Max, Yana and others) who had at various points taken on management, but had to step back due to life commitments or - I think it’s fair to say - the overwhelm of what this project entailed. I had just come off the back of a multi-year work project and had two powerful tools at my disposal: (1) a set of procedures and spreadsheets for tracking and managing competing work streams, and (2) hubris. I also had the ability to finally get a new computer, my first actual ‘brand-new, not second hand’ workhorse. So, three powerful tools I guess.

Anyway, as part of trying to land the proverbial plane, every song got categorised:

Those numbers of “awaiting mixing” are pretty key, because we had envisioned this album having a cohesive feel. Older garages albums typically had the individual artists writing and mixing their own songs, before submitting them to be mastered by a single individual. The closest analogue to this album’s process was some of the live albums, where individual performers would send in their parts (and videos) to editing teams.

In the end, we’ve ultimately decided against having the whole album mixed by a single person. That said, assuming everything progresses as expected it’s likely to be 5-6 mixers in total, with roughly 50% of the songs having been through me.

The mix

Biz was the first song other than Pivot that I mixed. Of the mixes I’ve done (so far) this album, this one also probably took the most revisions. I’d label each mix alphabetically for feedback from the artists, and the final version I have is ‘N’.

The challenge to this song is balancing certain elements that should feel ‘delicate’ and ‘intimate’ with other elements (often at the same time) that need to feel ‘powerful’ and ‘punchy’. Along the way I had to learn a host of new techniques, especially in terms of pinning the bass frequencies in place so they didn’t fluctuate and drown out other elements. For anyone who hadn’t mixed music before, your ears fatigue the longer you critically listen to music (especially in headphones as I do), but they don’t do it equally across the frequency spectrum. The high end goes first, meaning that if I mixed for too long, I could be totally missing what’s actually listenable.

I’m really proud of where this song landed, and there are certain friends of mine in the blaseball fandom that I actively cannot wait for their first take on this track in particular. @wooshofficial I’m staring you dead in the eyes right now.

EDIT: oh, and because I got so caught up in talking about the process of this one, I forgot to add why this is my ‘Favourite Child’. Biz is the song I find myself singing to myself the most often without even realising it, and whilst there are many songs on this album that make me cry, this one makes me smirk.

[bertiefromseattle]

And we’re back with part III

7. The --oo- (‘Theo’)

This one should be a quicker post, mostly because I only came on board for the mixing stage of this one. Nevertheless, it’s something I’m extremely proud of.

Theo is a really classic song that sits right in the pocket of the songwriters’ style. The demos that we got to listen to honestly could have shipped as is, and so - and I didn’t make a big deal of this at the time (see hubris in post II) - it was genuinely intimidating to try and pick up this song and mix it. In part, that’s because I have historically treated a lot of my mixing with a Bertie shaped hammer (which is to say, everything ends up roughly the same shape when I banged it together).

By contrast this song really wanted to sound like it had been mixed by the original songwriter, but then just lifted into place against the rest of the album. So my thesis statement was:

Crunchiness

The big part that enabled the crunch was judicious use of blending raw stems provided by the artist with versions they already applied their effects to. The effected version gave the tone and characteristic of their style, whilst the raw versions I could surgically EQ or compress to round out the mix as a whole.

Vocals

This was probably the bit that had the most back and forth in mixing. The two vocalists - [REDACTED] and [REDACTED] - are two of my favourite vocalists in the garages, and their voices pair beautifully together. If I was a sommelier I’d have something to say here about tannins, but I am but a humble peanut butter and jelly merchant so I’ll simply say “all timer vocals”.

That said, the two sing with very different dynamic ranges. Whilst both powerful in their own way, one vocalist is quite consistent across the track, whilst the other had huge volume shifts across single words (let along a whole vocal phrase). So I spent a lot of time trying to pin these in place so that they felt harmonised and not stepping over each other.

In the end, I just copped the “work smart” tax and bought Waves VocalRider plugin to help level out some of those variations so my compressors didn’t have to work so hard.

Floaty

I think my final count was 13 different reverb or delay sends on this one. They all blend together in the end version that was sent for mastering, but yep, floaty.

The end product

Whilst the album wasn’t written deliberately this way, it’s organically ended up with certain characteristics unique to the four Sides (we’ll get to this in a future post). In my mind, Theo is the song that typifies side B.

Theo sits between two other songs that, when taken together, almost feel like they were written hand in hand with each other. They’re maybe the 3 most hopeful sounding songs on the album (which says something when you read the actual lyrics to Theo).

Theo is my Favourite Child (and I’m going to say that about everyone one of these from here out) because I feel privileged that musicians I greatly respect trusted me to make it ready for its debut. It’s a song for everyone who’s keeping it together, even when the shore seems really far away.

[strikefourth]

We have a release date!

Hello everyone, and thank you all for your patience over the many, many months we've been wrangling things behind the scenes. We're happy to say we have an absolute, 100% set in stone release date for EXPANSION, our double album covering the Expansion Era of Blaseball.

EXPANSION will release on November 6th, 2026.

If you've already ordered the album, you'll be able to download from Bandcamp on the day of. We'll be organizing a listen party closer to to celebrate the release and have one last good old garages hang.

Our inbox is open for any questions, comments, concerns and such! If there's something about your specific order you want to discuss, shoot us a message, and we'll figure out the best way to sort things.

Thanks again to everyone for your patience. We're so excited to finally open up the vault.

xoxo, the garages

[bertiefromseattle]

I have so much to say about this album, because if I’m being really honest, my fingerprints are all over it. But I’m not going to say it all at once, so let’s start at the beginning (which is a very good place to start).

PIVOT

Pivot was indisputably the first song written on Expansion. It’s a running joke amongst the garages that Bertie never misses, and I had the first cut of this song written maybe a week after the first kick off meeting.

That kick off meeting is important because we had a great pool of songwriters, and originally a double vinyl worth of time limit. So we’d allocated how many songs to a side, roughly how much time each song could have to fit on the vinyl, and the overall flow of themes from Blaseball that we’d touch at which points, then it was up to all the different songwriters to sort of preference what they wanted off the album.

And I was like “oh, I know exactly what energy I want to start this thing off with. Gimme that a slot 1.”

The actual pivot

Whilst the structure of that first draft has persisted to the final version, the evolution of the song took another couple of weeks. See, the first draft pulled a lot of influence from [REDACTED] and some initial feedback from an early songwriter’s listening party was that this sat quite at odds with the tone of the rest of the album, and perhaps drew too heavily on that source influence.

So, I pivoted and added more Bertie. This ended up adding more energy, which well… you’ll see.

The actual pivot… again

Remember how I said my fingers were all over this album. Well, I originally only had the one songwriting credit to the album, but along the ways we had a range of shifts in the album overall. There were songs partially written that had to get pulled (because song writers had become unavailable or had outgrown the people they were when the song was first drafted)… that’s life post-blaseball, right?

Well, one of those gaps eventuated in my other solo writing credit (and check those timestamps):

The thing is, that’s a lot of time interposed as a song writer, but even more importantly as a performer. The vocals on [REDACTED] eclipsed Pivot’s vocals (blaseball pun intended) so much so that it sounded like two different singers. So, in 2024 or 2025 (time blurs), I went back to Pivot and re-recorded all the vocals. And then more vocals. And then more. And then more.

And then more

I think this really summaries Expansion as a whole: so many times, we’ve individually and collectively wanted to give more. I shan’t dare trawl discord to count it, but the amount of times a songwriter would hear how someone had improved their song and responded with “well, fuck, how do I follow that?!” is … a lot.

Without big upping it too much, I think this album is really special because every track feels crafted in a way that we never could have had the time for in the original Garages blur.

But it’s also why it’s taken so long. I’ve never wanted to let any of the songs get left behind. At a certain point in the album process, I stepped in to take over some of the organisation and also took up mixing and providing production assistance to a decent chunk of the tracks as well. I’ll leave it to others to assess how much that has helped or hindered, but it does mean that all of these 21 songs (even the ones I haven’t touched directly) feel almost like my children.

And so as a tasty little treat, I’ll leave you with the (almost prophetic) opening lyrics to Pivot/Expansion:

“Bigger and better than ever before

We left you waiting, but you still want more.”

[bertiefromseattle]

Ok, continuing my series of thoughts about Expansion. I was originally going to go through in track order, but I think I’m going to bounce around instead.

13. B--t -n -he Biz (‘Biz’)

I’m fairly certain this was the first song that I provided production support on, which is to say, probably the second track I worked on. The songwriter had (fantastic) chords/melody/lyrics, but put out an open call to actually produce it into a full song. Checking the discord for timelines, I picked it up maybe a month after and started adding a few of the key design elements. My thesis was “vocal forward” and “throbbing”, take that how you will.

Another gosh dang pivot

Whilst there were innumerable delays that have contributed to Expansion, one of the biggest ones on my front was catastrophic tech failure:

My long term writing computer shat the bed entirely, and despite knowing better, I didn’t have backups of a lot of the projects. I also was in a position where I could neither afford to get it repaired or replaced, which meant it looked like it might have been curtains for Bertie’s contributions. My memory is a bit hazy here, but I’m fairly certain I never managed to recover the original project files.

The solve came many months later, when - unable to access the original computer - I started to reconstruct the song from scratch using an old buster laptop. This was slow and laborious as I had

vastly less processing power, requiring me to work track by track.

very few of my plugins (and even fewer of my ‘go to’ patches), requiring me to try and rebuild sounds from scratch

only one or two exports of the original mix to try and work from.

We’re somewhere at the 2 year point by now.

The process

Around another year later is when I stepped into the project management/co-ord role to try to assess the album and help get it all together. We’ve had a range of fantastic people across the album’s life (shout outs to Rain, Max, Yana and others) who had at various points taken on management, but had to step back due to life commitments or - I think it’s fair to say - the overwhelm of what this project entailed. I had just come off the back of a multi-year work project and had two powerful tools at my disposal: (1) a set of procedures and spreadsheets for tracking and managing competing work streams, and (2) hubris. I also had the ability to finally get a new computer, my first actual ‘brand-new, not second hand’ workhorse. So, three powerful tools I guess.

Anyway, as part of trying to land the proverbial plane, every song got categorised:

Those numbers of “awaiting mixing” are pretty key, because we had envisioned this album having a cohesive feel. Older garages albums typically had the individual artists writing and mixing their own songs, before submitting them to be mastered by a single individual. The closest analogue to this album’s process was some of the live albums, where individual performers would send in their parts (and videos) to editing teams.

In the end, we’ve ultimately decided against having the whole album mixed by a single person. That said, assuming everything progresses as expected it’s likely to be 5-6 mixers in total, with roughly 50% of the songs having been through me.

The mix

Biz was the first song other than Pivot that I mixed. Of the mixes I’ve done (so far) this album, this one also probably took the most revisions. I’d label each mix alphabetically for feedback from the artists, and the final version I have is ‘N’.

The challenge to this song is balancing certain elements that should feel ‘delicate’ and ‘intimate’ with other elements (often at the same time) that need to feel ‘powerful’ and ‘punchy’. Along the way I had to learn a host of new techniques, especially in terms of pinning the bass frequencies in place so they didn’t fluctuate and drown out other elements. For anyone who hadn’t mixed music before, your ears fatigue the longer you critically listen to music (especially in headphones as I do), but they don’t do it equally across the frequency spectrum. The high end goes first, meaning that if I mixed for too long, I could be totally missing what’s actually listenable.

I’m really proud of where this song landed, and there are certain friends of mine in the blaseball fandom that I actively cannot wait for their first take on this track in particular. @wooshofficial I’m staring you dead in the eyes right now.

EDIT: oh, and because I got so caught up in talking about the process of this one, I forgot to add why this is my ‘Favourite Child’. Biz is the song I find myself singing to myself the most often without even realising it, and whilst there are many songs on this album that make me cry, this one makes me smirk.

[strikefourth]

We have a release date!

Hello everyone, and thank you all for your patience over the many, many months we've been wrangling things behind the scenes. We're happy to say we have an absolute, 100% set in stone release date for EXPANSION, our double album covering the Expansion Era of Blaseball.

EXPANSION will release on November 6th, 2026.

If you've already ordered the album, you'll be able to download from Bandcamp on the day of. We'll be organizing a listen party closer to to celebrate the release and have one last good old garages hang.

Our inbox is open for any questions, comments, concerns and such! If there's something about your specific order you want to discuss, shoot us a message, and we'll figure out the best way to sort things.

Thanks again to everyone for your patience. We're so excited to finally open up the vault.

xoxo, the garages

[bertiefromseattle]

I have so much to say about this album, because if I’m being really honest, my fingerprints are all over it. But I’m not going to say it all at once, so let’s start at the beginning (which is a very good place to start).

PIVOT

Pivot was indisputably the first song written on Expansion. It’s a running joke amongst the garages that Bertie never misses, and I had the first cut of this song written maybe a week after the first kick off meeting.

That kick off meeting is important because we had a great pool of songwriters, and originally a double vinyl worth of time limit. So we’d allocated how many songs to a side, roughly how much time each song could have to fit on the vinyl, and the overall flow of themes from Blaseball that we’d touch at which points, then it was up to all the different songwriters to sort of preference what they wanted off the album.

And I was like “oh, I know exactly what energy I want to start this thing off with. Gimme that a slot 1.”

The actual pivot

Whilst the structure of that first draft has persisted to the final version, the evolution of the song took another couple of weeks. See, the first draft pulled a lot of influence from [REDACTED] and some initial feedback from an early songwriter’s listening party was that this sat quite at odds with the tone of the rest of the album, and perhaps drew too heavily on that source influence.

So, I pivoted and added more Bertie. This ended up adding more energy, which well… you’ll see.

The actual pivot… again

Remember how I said my fingers were all over this album. Well, I originally only had the one songwriting credit to the album, but along the ways we had a range of shifts in the album overall. There were songs partially written that had to get pulled (because song writers had become unavailable or had outgrown the people they were when the song was first drafted)… that’s life post-blaseball, right?

Well, one of those gaps eventuated in my other solo writing credit (and check those timestamps):

The thing is, that’s a lot of time interposed as a song writer, but even more importantly as a performer. The vocals on [REDACTED] eclipsed Pivot’s vocals (blaseball pun intended) so much so that it sounded like two different singers. So, in 2024 or 2025 (time blurs), I went back to Pivot and re-recorded all the vocals. And then more vocals. And then more. And then more.

And then more

I think this really summaries Expansion as a whole: so many times, we’ve individually and collectively wanted to give more. I shan’t dare trawl discord to count it, but the amount of times a songwriter would hear how someone had improved their song and responded with “well, fuck, how do I follow that?!” is … a lot.

Without big upping it too much, I think this album is really special because every track feels crafted in a way that we never could have had the time for in the original Garages blur.

But it’s also why it’s taken so long. I’ve never wanted to let any of the songs get left behind. At a certain point in the album process, I stepped in to take over some of the organisation and also took up mixing and providing production assistance to a decent chunk of the tracks as well. I’ll leave it to others to assess how much that has helped or hindered, but it does mean that all of these 21 songs (even the ones I haven’t touched directly) feel almost like my children.

And so as a tasty little treat, I’ll leave you with the (almost prophetic) opening lyrics to Pivot/Expansion:

“Bigger and better than ever before

We left you waiting, but you still want more.”

[strikefourth]

Fourth Strike Dec-Jan-Feb Roundup!

(It's Bandcamp Friday. 100% of today's proceeds go towards California wildfire relief)

Hey everyone! It's 2025 now, and while January was tied up with prepping and releasing we've been the garages, it's February now, which means: Roundup time!

Our first roundup of 2025 is absolutely FILLED with new music, podcast appearances, and disintegrating perceptions of the self, brought to you with love from Fourth Strike. Also, cool shirts.

Let's jump into it:

--

The Garages released another EXPANSION single! "I'm Starting to Lose My Sense of Self," by @rosieeeeeeeee is out now on Bandcamp.

It'll be up on Spotify as a double single with Shark Hunter soon, so keep your eyes peeled and your ears primed! And pre-order the album if you haven't yet :)

--

2. Two years ago, Skates wrote an indie horror game about women's rowing team. Now, in the wake of increasingly hostile sentiment and policy against trans folks, especially trans women (including a new American executive order ban on trans women in sports), they're giving 100% of game proceeds from this month to Athlete Ally and Callen-Lorde.

elliot degrassi (@degrassi.bsky.social)

given the recent executive order banning transgender women from women's sports in the united states - all funds raised by don't rock the boa

raising money for transgender orgs - don't rock the boat by elliot degrassi

hello! given the recent executive order banning transgender women from women's sports in the united states - all funds raised by this game d

--

3. Resni released a whopping 62-track soundtrack for their game, Stardust Demon. Let me say that again: 62. Tracks.

--

4. @girltentacles and friends made a Christmas song! It came out on Christmas; we're just late to the party. Don't waste any more time not listening to it!

--

5. New @girlballz music! Demos, covers, and new originals, oh my!

Us(working title)

welcome to my SoundCloud! this area is strictly for documentation of my ideas and almost everything you will hear on here was done in one ta

Fae're also doing February Album Writing Month, where it's challenged to write 14 songs in 28 days. You can follow along with faer progress here:

14 songs in 28 days. Make music. Because you can.

--

6. Bertie's new band, Cardboard Chords, released two singles in the last three months, with another one set to drop on Valentine's Day. Pre-orders open now!

--

7. If you missed them last time around, Yuppie Supper ( @thwackamabob ) shirts are back! They'll stay up until sizes run out... or a new EP releases 👀

Dracunculiasis T-Shirt from Yuppie Supper

Dracunculiasis T-Shirt from Yuppie Supper

The band's also migrated to BlueSky--you can catch up with them here!

--

8. Sister Sickness released its new single "Break My Bones" on SoundCloud! Check it out here:

--

9. @clemkesh is doing a guest run on the podcast Quest Friends! as the singing voice of player character Sparky! Her first appearance is on Episode 46: "Swanshine!"

There're also extended versions of the songs released as separate cuts--you can find those over on the Quest Friends! website:

Swanshine! (Song) | Quest Friends! A Podcast about Friendship, Family, and Ghosts

Music by Kyle Decker Alicia Orozco as Xochi: fiverr.com/aliciaorozcomx?source=gig_page Louisa Blatt as Sparky: louisablatt.bsky.social (blu

A Minor Breakdown | Quest Friends! A Podcast about Friendship, Family, and Ghosts

Music by Kyle Decker Alicia Orozco as Xochi: fiverr.com/aliciaorozcomx?source=gig_page Louisa Blatt as Sparky: louisablatt.bsky.social (blu

--

10. Louisa also wrote, co-sang, and produced a duet for this year's Secret Samol, a Friends at the Table annual fanart exchange:

--

10. @robnotes's part of a 48 hour charity stream for Children on the Edge! They're managing the stream today--at the top of the hour, actually-- and they'll be hosting the feed on Sunday, Feb 9th from 10am - 3pm GMT. Come say hi!

Watch this video on Twitch Live

SwitchUP's fundraiser for Children on the Edge

Help SwitchUP Plymouth raise money to support Children on the Edge

[bertiefromseattle]

This is maybe a helpful time to say that Cardboard Chords is my Magic: The Gathering inspired music project. Each song is meant to answer “what if Commanders had wrestling entrance music”. The first three songs are respectively Valgavoth, Isshin and Marchesa.

It think they’re sick, and if you have magic nerds in your life, please show them.

[bertiefromseattle]

So, the beauty of ‘I Should Have Been On The Garages’ - imho - is that Famous Owens now is on The Garages and no one can take that back. Go on. Go check the composer credits on Spotify for ISHBOTG. I’ll wait.

[dominosbrackets]

BATTLE OF THE BANDS: THE GARAGES VS. WYLD STALLYNS

the garages (blaseball)

wyld stallyn (bill and ted)

show results

Voting ended onFeb 27, 2023

[ID the smash 4 vs screen with the garages logo on one side and wyld stallyn on the other END ID]

masterpost

[bertiefromseattle]

This is killing me. My band is beating my childhood. This is an upset, not in the sense that I thought tumblr would favour Wyld Stallyns, but that it makes me upset🥲

[bertiefromseattle]

There’s this weird thing at the moment where - for the last few years - I have almost exclusively made blaseball music. And I’ve made A LOT. But now with the misfiring of the coronation era, when I’m going to write music it feels SO distant.

Like, the instrumentals are all there (and then some) but when I go to write lyrics and vocals I’m like “well, I can’t remember any specific things that haven’t been covered in detail elsewhere.” It’s easy to write lots when blaseball is in motion, because things are happening all the time on top of each other.

Anyways, I’m glad TGB have step backed to make the game better but it’s made me aware of how much of a crutch I’d been using the game when it came to inspiration.

[deathmason]

pick a track from the garages (learn nothing)

brand new day to die

coming home

reopening day

ghostlights

what have we done

uh oh

next fall

go down (or fall)

moab pitcher's fanfare

falling down

Voting ended onFeb 6, 2023

album isn't out yet, title vibes only, go

[bertiefromseattle]

Ummmmm, y’all seem really excited for uh oh.

[hadesblaseball]

[ ID: a Missing Poster. At the top the name 'FRAZIER TOSSER' is written above a picture of sand stamped with the word 'REWARD*'. Below the image is the text, "Unknown Gender, Unknown age. Umps claim their transfer was 'INTERRUPTED BY AN "IMPROBABLY EXCESSIVE" AMOUNT OF SAND'. Last seen Crashing into Philly. DO NOT CONTACT THE HADES TIGERS. Please Keep Them." End ID ]

[bertiefromseattle]

Happy FireClawker With Me Friday.

[guccigarantine]

it’s very important to hype up your friend when he does really good analysis X

[internet-league-blaseball]

if hades tigers don’t get famous owens back i’ll cry

[bertiefromseattle]

I don’t know what I want more: Famous Owens back on the tigers, or blighting some other ILB team with them. Either way I need them to Fall.

[shittysawtraps]

Hello Jacob.

For years you’ve been cheating at board games. Now the board game will cheat you. Now, look, I’ll be honest, originally I was going to trap you in a super big version of mousetrap, but you know how that shit never works right? You put it all together but it gets stuck halfway through, usually on the bathtub part for me. And then you’ve gotta jiggle that son of a bitch, and half the time the marble goes fucking flying across the room- yeah you know. You enjoy a good Mousetrap. Ok, well imagine that, the marble getting stuck, but human sized. The bowling ball kept getting stuck in the bathtub. I had to keep climbing a stepladder and jiggling it, I’m fucking fifty, Jacob. Even without the cancer I’m too goddamn old to be jiggling a bathtub because a bowling ball got stuck- and it kept flying across the room and Hoffman couldn’t be fucked to help me assemble this, and Amanda kept saying “just do Hungry Hungry Hippos,” like what am I supposed to do steal a hippo animatronic from the goddamn Rainforest Cafe? Hippos aren’t scary. Anyway, it was too much goddamn effort, so instead I just painted colorful tiles and threw a bunch of candy on the floor. It’s candyland, Jacob. If you cheat I’ll shoot you point blank, I’m fucking tired.