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YMMV / Nick Bertke

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  • Archive Panic: Holy hell. Let's just say that if the only Pogo music you listen to is from his channel, you have a big storm coming. He's released tons of additional EPs and albums, and even if we were to list them here, there would still be some left out, because apparently Nick's released some EPs that are extremely rare to find.
    • Archive Binge: Thank God for BSHFTW, who has not only searched for and found tracks hidden in the most obscure parts of Nick's discography, but has uploaded them to share with the world.
  • Broken Base: Real-life mixes like "G'Day G'Day" and "Perth Milks It" have polarized most of the audience, with some enjoying the beats and sound and others disliking it being Something Completely Different or just ultimately inferior.
    • Considering how different the sound is, sounding more like Nick attempting to make mainstream pop, it's understandable to see why some would be split on this.
  • Awesome Music: You better believe it.
    • What can be deciphered of the "Toyz Noize" lyrics qualifies:
    Own the star, we own the star
    In my own
    Be brave
    Have faith in me
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  • Ear Worm: Most of his more upbeat songs.
  • First Installment Wins: His earliest songs are usually his most recognizable, considering this applies to his very first song, "Alice", which he thinks is a Tough Act to Follow.
  • Heartwarming Moments: See here.
  • Memetic Mutation: "Wizard of Meh" has had its fair share of this, considering the amount of fun people have had with all of Nick's weird facial expressions.
  • Never Live It Down: His attempts to be deliberately offensive to spite a culture reliant on safe spaces and trigger warnings in what he describes as the cultural pendulum swinging too far to the left have gotten him in deep controversy, with his dismissal of what he said on the grounds of it being satirical and separate from his actual beliefs not quelling the backlash much. While he still has a steady following, his chances of working with a company again seem slim.
  • Nightmare Fuel:
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    • His two slasher smiles in "Wizard of Meh" are both equally nightmarish.
    • The Escape from Horrorland game was this to Nick himself as a kid.
    • His old song "Satan in the Room", made to encapsulate the feeling of the Devil's presence.
    • The entirety of his Vent Now album, buried and smothered in pounding, pulsating, disorienting beats, intimidating atmospheres, and an overall picture of manic disarray. The fact that the same guy that made "Alice" and "Upular" made this is disturbing in and of itself.
  • Signature Song: "Alice".
  • Signature Style:
    • The beat usually kicks in or pauses with a short one-liner. But these lines are special because, unlike other voice/sound effects, they can easily be understood as referring to the music itself, kinda Breaking the Fourth Wall and Lampshade Hanging:
      • In Swashbuckle: "That's not good enough!" and "I LOVE this SONG".
      • In Bloom: "[...] beautiful."
      • In Bangarang : "[...], do something intelligent!", "[...], feel this!" and "Just listen!"
      • In Jaam: "You got that right."
      • In Lead Breakfast: "Hey, kids.", "Let's go!"
      • In Yoda Yodel and Hoo Ba Ba Kanda: "Watch this!"
      • In Wishery: "Don't get excited...Here we go!"
      • In Boo Bass, a longer Lampshade Hanging. After settling the fast rythm (one of his fastest), a smooth Hawaiian-style piece pops in and breaks it. The monsters, as if they heard it, react : "- What was that ?? - I have no idea, but it would be really great if it didn't do it again". Cue the fast beat restarting.
      • In Upular, a variant with "- That doesn't even rhyme! - Yes, it does!". Cue rhyming voice effects.
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    • Lots of sources from Disney, especially from Alice.
  • Suspiciously Similar Song: "Doo D'Doo" sounds a bit similar to "The Whistle Song" by Frankie Knuckles.
  • Sweet Dreams Fuel: Lots and lots. The SDF is mainly pumped in from the Nostalgia Filter that the songs provide to listeners.
    • "Buzzwing", which has a blissful foundation and even manages to make seemingly incoherent voice samples of Buzz Lightyear sound heavenly.
    • "Davyd", which is a lot more in the Tear Jerker territory considering its source material.
    • "Upular", which is a happy and upbeat sort of "sweet dreams"-y.
    • Nick has made some legitimate full-on ambient tracks, such as "Counterpoint" and "Standing Before the Earth". The latter sounds like it would fit on an Aphex Twin album, and also bears lots of resemblance to Radiohead's "Treefingers", which is similarly an ambient interlude.
    • "Living Island", which takes you back to the days of childish innocence and imagination.
    • "Alice". It really fits perfectly with Alice in Wonderland's verve of fantastical wonder, and the choral additions don't hurt.
    • "White Magic" truly lives up to its name. I mean, try sleeping to it.
    • Even "Splurgenshitter", which is louder and more active production-wise, still brings a soothing effect, especially in its ending.
    • "Mary's Magic". Then again, its main instrumentation is of samples of children singing and music boxes, and has a Windows 95 startup sound playing both forwards and backwards at select points in the background. How could it not be here?
    • "Adios Amor" can only be described as a driving-all-night type of song; very mellowed out and relaxing, and it's especially enchanting when the additional sonic textures come a good way into the song.
    • Bite Size Candies is a literal example since it invovled M&M's.
  • Tear Jerker: Most of his songs; usually the sadder ones are mixes based off of old-school movies, and the tearjerkiness is packed in the nostalgia and power of the song. See here.
  • Visual Effects of Awesome: "Data & Picard" has received wide and well-deserved acclaim for its impeccable green-screening, lighting, and makeup.

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