AMPLIFIER WORSHIP
My personal favorite hand-wired tube powered bass amps.
My SVT-VR is awesome, but this is some next level shit.
MATAMP - GT200
VERELLEN - Meatsmoke
DUNWHICH AMPS - The Annunaki
REEVES - Custom 400
While I like them all, if I had to choose one, I’d probably go with the MATAMP. Either that or the Meatsmoke or the Annunaki which would be ideal for the Doom side of my tastes.  The Reeves is incredible, but the 400 is too much wattage for my applications, at least for the foreseeable future.  The custom 225 is worth a mention being the younger brother of the 400.
That being said the advantage of the SVT-VR is the 2ohm output load, and it will stay clean most of the way up the dial.  I could image it powering a Berg 610 for a monstrous clean tone while the Matamp powers a Berg 412 for a ozone depleating dirty tone.  Tone boners all over the place.
ZoomInfo
AMPLIFIER WORSHIP
My personal favorite hand-wired tube powered bass amps.
My SVT-VR is awesome, but this is some next level shit.
MATAMP - GT200
VERELLEN - Meatsmoke
DUNWHICH AMPS - The Annunaki
REEVES - Custom 400
While I like them all, if I had to choose one, I’d probably go with the MATAMP. Either that or the Meatsmoke or the Annunaki which would be ideal for the Doom side of my tastes.  The Reeves is incredible, but the 400 is too much wattage for my applications, at least for the foreseeable future.  The custom 225 is worth a mention being the younger brother of the 400.
That being said the advantage of the SVT-VR is the 2ohm output load, and it will stay clean most of the way up the dial.  I could image it powering a Berg 610 for a monstrous clean tone while the Matamp powers a Berg 412 for a ozone depleating dirty tone.  Tone boners all over the place.
ZoomInfo
AMPLIFIER WORSHIP
My personal favorite hand-wired tube powered bass amps.
My SVT-VR is awesome, but this is some next level shit.
MATAMP - GT200
VERELLEN - Meatsmoke
DUNWHICH AMPS - The Annunaki
REEVES - Custom 400
While I like them all, if I had to choose one, I’d probably go with the MATAMP. Either that or the Meatsmoke or the Annunaki which would be ideal for the Doom side of my tastes.  The Reeves is incredible, but the 400 is too much wattage for my applications, at least for the foreseeable future.  The custom 225 is worth a mention being the younger brother of the 400.
That being said the advantage of the SVT-VR is the 2ohm output load, and it will stay clean most of the way up the dial.  I could image it powering a Berg 610 for a monstrous clean tone while the Matamp powers a Berg 412 for a ozone depleating dirty tone.  Tone boners all over the place.
ZoomInfo
AMPLIFIER WORSHIP
My personal favorite hand-wired tube powered bass amps.
My SVT-VR is awesome, but this is some next level shit.
MATAMP - GT200
VERELLEN - Meatsmoke
DUNWHICH AMPS - The Annunaki
REEVES - Custom 400
While I like them all, if I had to choose one, I’d probably go with the MATAMP. Either that or the Meatsmoke or the Annunaki which would be ideal for the Doom side of my tastes.  The Reeves is incredible, but the 400 is too much wattage for my applications, at least for the foreseeable future.  The custom 225 is worth a mention being the younger brother of the 400.
That being said the advantage of the SVT-VR is the 2ohm output load, and it will stay clean most of the way up the dial.  I could image it powering a Berg 610 for a monstrous clean tone while the Matamp powers a Berg 412 for a ozone depleating dirty tone.  Tone boners all over the place.
ZoomInfo
AMPLIFIER WORSHIP
My personal favorite hand-wired tube powered bass amps.
My SVT-VR is awesome, but this is some next level shit.
MATAMP - GT200
VERELLEN - Meatsmoke
DUNWHICH AMPS - The Annunaki
REEVES - Custom 400
While I like them all, if I had to choose one, I’d probably go with the MATAMP. Either that or the Meatsmoke or the Annunaki which would be ideal for the Doom side of my tastes.  The Reeves is incredible, but the 400 is too much wattage for my applications, at least for the foreseeable future.  The custom 225 is worth a mention being the younger brother of the 400.
That being said the advantage of the SVT-VR is the 2ohm output load, and it will stay clean most of the way up the dial.  I could image it powering a Berg 610 for a monstrous clean tone while the Matamp powers a Berg 412 for a ozone depleating dirty tone.  Tone boners all over the place.
ZoomInfo
AMPLIFIER WORSHIP
My personal favorite hand-wired tube powered bass amps.
My SVT-VR is awesome, but this is some next level shit.
MATAMP - GT200
VERELLEN - Meatsmoke
DUNWHICH AMPS - The Annunaki
REEVES - Custom 400
While I like them all, if I had to choose one, I’d probably go with the MATAMP. Either that or the Meatsmoke or the Annunaki which would be ideal for the Doom side of my tastes.  The Reeves is incredible, but the 400 is too much wattage for my applications, at least for the foreseeable future.  The custom 225 is worth a mention being the younger brother of the 400.
That being said the advantage of the SVT-VR is the 2ohm output load, and it will stay clean most of the way up the dial.  I could image it powering a Berg 610 for a monstrous clean tone while the Matamp powers a Berg 412 for a ozone depleating dirty tone.  Tone boners all over the place.
ZoomInfo
AMPLIFIER WORSHIP
My personal favorite hand-wired tube powered bass amps.
My SVT-VR is awesome, but this is some next level shit.
MATAMP - GT200
VERELLEN - Meatsmoke
DUNWHICH AMPS - The Annunaki
REEVES - Custom 400
While I like them all, if I had to choose one, I’d probably go with the MATAMP. Either that or the Meatsmoke or the Annunaki which would be ideal for the Doom side of my tastes.  The Reeves is incredible, but the 400 is too much wattage for my applications, at least for the foreseeable future.  The custom 225 is worth a mention being the younger brother of the 400.
That being said the advantage of the SVT-VR is the 2ohm output load, and it will stay clean most of the way up the dial.  I could image it powering a Berg 610 for a monstrous clean tone while the Matamp powers a Berg 412 for a ozone depleating dirty tone.  Tone boners all over the place.
ZoomInfo
AMPLIFIER WORSHIP
My personal favorite hand-wired tube powered bass amps.
My SVT-VR is awesome, but this is some next level shit.
MATAMP - GT200
VERELLEN - Meatsmoke
DUNWHICH AMPS - The Annunaki
REEVES - Custom 400
While I like them all, if I had to choose one, I’d probably go with the MATAMP. Either that or the Meatsmoke or the Annunaki which would be ideal for the Doom side of my tastes.  The Reeves is incredible, but the 400 is too much wattage for my applications, at least for the foreseeable future.  The custom 225 is worth a mention being the younger brother of the 400.
That being said the advantage of the SVT-VR is the 2ohm output load, and it will stay clean most of the way up the dial.  I could image it powering a Berg 610 for a monstrous clean tone while the Matamp powers a Berg 412 for a ozone depleating dirty tone.  Tone boners all over the place.
ZoomInfo

AMPLIFIER WORSHIP

My personal favorite hand-wired tube powered bass amps.

My SVT-VR is awesome, but this is some next level shit.

  • MATAMP - GT200
  • VERELLEN - Meatsmoke
  • DUNWHICH AMPS - The Annunaki
  • REEVES - Custom 400

While I like them all, if I had to choose one, I’d probably go with the MATAMP. Either that or the Meatsmoke or the Annunaki which would be ideal for the Doom side of my tastes.  The Reeves is incredible, but the 400 is too much wattage for my applications, at least for the foreseeable future.  The custom 225 is worth a mention being the younger brother of the 400.

That being said the advantage of the SVT-VR is the 2ohm output load, and it will stay clean most of the way up the dial.  I could image it powering a Berg 610 for a monstrous clean tone while the Matamp powers a Berg 412 for a ozone depleating dirty tone.  Tone boners all over the place.

Quote IconWhatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.
Brian Eno, A Year With Swollen Appendices (via sadpizza)

(Source: sincerely-rebekah)

Just See Fear - Cloud Nothings, Here and Nowhere Else (2014)

I can’t stop spinning this record, these hooks are so seriously infectious.  That and I swear they are channeling the spirit of Wipers and Scratch Acid  on that B Section.  Go hunker down with the ghost of your youthful angst and dig into this record, you can smell the damp basement drywall in these tunes. 

(Source: Spotify)

atlasobscura:

Monarch the Bear - San Francisco, California
According to legend-made-fact, in 1889 newspaper mogul William Randolph Hearst approached his reporter, Allen Kelley with a challenge: “Do you think you could get me a California grizzly bear?”
"I think I could get a bear if I tried. Do you want him dead or alive?"
"Alive."
Kelley set of on his mission to find the elusive beast that has so threatened early settlers, but had by this time all but disappeared. He finally found his quarry near Los Angeles. The huge bear that became known as “Monarch” was transported to San Francisco in November 1889 where he was installed in the menagerie at Woodward’s Gardens, a (long since vanished) combination zoo, museum and amusement park on Sacramento Street near Leidesdorff.
He eventually came to live at Golden Gate Park - once home an impressive assortment of animals of various kinds, now represented solely by the park’s resident Bison.
Monarch was exhibited at the 1894 Midwinter Exposition where he was known as the “last wild grizzly bear in California” and eventually went on to become the symbol for California, depicted on the state flag, and adored by local citizens.
But that’s not all!
For the full story of Monarch the Bear and his final resting place, keep reading on Atlas Obscura… 
ZoomInfo
atlasobscura:

Monarch the Bear - San Francisco, California
According to legend-made-fact, in 1889 newspaper mogul William Randolph Hearst approached his reporter, Allen Kelley with a challenge: “Do you think you could get me a California grizzly bear?”
"I think I could get a bear if I tried. Do you want him dead or alive?"
"Alive."
Kelley set of on his mission to find the elusive beast that has so threatened early settlers, but had by this time all but disappeared. He finally found his quarry near Los Angeles. The huge bear that became known as “Monarch” was transported to San Francisco in November 1889 where he was installed in the menagerie at Woodward’s Gardens, a (long since vanished) combination zoo, museum and amusement park on Sacramento Street near Leidesdorff.
He eventually came to live at Golden Gate Park - once home an impressive assortment of animals of various kinds, now represented solely by the park’s resident Bison.
Monarch was exhibited at the 1894 Midwinter Exposition where he was known as the “last wild grizzly bear in California” and eventually went on to become the symbol for California, depicted on the state flag, and adored by local citizens.
But that’s not all!
For the full story of Monarch the Bear and his final resting place, keep reading on Atlas Obscura… 
ZoomInfo
atlasobscura:

Monarch the Bear - San Francisco, California
According to legend-made-fact, in 1889 newspaper mogul William Randolph Hearst approached his reporter, Allen Kelley with a challenge: “Do you think you could get me a California grizzly bear?”
"I think I could get a bear if I tried. Do you want him dead or alive?"
"Alive."
Kelley set of on his mission to find the elusive beast that has so threatened early settlers, but had by this time all but disappeared. He finally found his quarry near Los Angeles. The huge bear that became known as “Monarch” was transported to San Francisco in November 1889 where he was installed in the menagerie at Woodward’s Gardens, a (long since vanished) combination zoo, museum and amusement park on Sacramento Street near Leidesdorff.
He eventually came to live at Golden Gate Park - once home an impressive assortment of animals of various kinds, now represented solely by the park’s resident Bison.
Monarch was exhibited at the 1894 Midwinter Exposition where he was known as the “last wild grizzly bear in California” and eventually went on to become the symbol for California, depicted on the state flag, and adored by local citizens.
But that’s not all!
For the full story of Monarch the Bear and his final resting place, keep reading on Atlas Obscura… 
ZoomInfo
atlasobscura:

Monarch the Bear - San Francisco, California
According to legend-made-fact, in 1889 newspaper mogul William Randolph Hearst approached his reporter, Allen Kelley with a challenge: “Do you think you could get me a California grizzly bear?”
"I think I could get a bear if I tried. Do you want him dead or alive?"
"Alive."
Kelley set of on his mission to find the elusive beast that has so threatened early settlers, but had by this time all but disappeared. He finally found his quarry near Los Angeles. The huge bear that became known as “Monarch” was transported to San Francisco in November 1889 where he was installed in the menagerie at Woodward’s Gardens, a (long since vanished) combination zoo, museum and amusement park on Sacramento Street near Leidesdorff.
He eventually came to live at Golden Gate Park - once home an impressive assortment of animals of various kinds, now represented solely by the park’s resident Bison.
Monarch was exhibited at the 1894 Midwinter Exposition where he was known as the “last wild grizzly bear in California” and eventually went on to become the symbol for California, depicted on the state flag, and adored by local citizens.
But that’s not all!
For the full story of Monarch the Bear and his final resting place, keep reading on Atlas Obscura… 
ZoomInfo

atlasobscura:

Monarch the Bear - San Francisco, California

According to legend-made-fact, in 1889 newspaper mogul William Randolph Hearst approached his reporter, Allen Kelley with a challenge: “Do you think you could get me a California grizzly bear?”

"I think I could get a bear if I tried. Do you want him dead or alive?"

"Alive."

Kelley set of on his mission to find the elusive beast that has so threatened early settlers, but had by this time all but disappeared. He finally found his quarry near Los Angeles. The huge bear that became known as “Monarch” was transported to San Francisco in November 1889 where he was installed in the menagerie at Woodward’s Gardens, a (long since vanished) combination zoo, museum and amusement park on Sacramento Street near Leidesdorff.

He eventually came to live at Golden Gate Park - once home an impressive assortment of animals of various kinds, now represented solely by the park’s resident Bison.

Monarch was exhibited at the 1894 Midwinter Exposition where he was known as the “last wild grizzly bear in California” and eventually went on to become the symbol for California, depicted on the state flag, and adored by local citizens.

But that’s not all!

For the full story of Monarch the Bear and his final resting place, keep reading on Atlas Obscura… 

No Thoughts - Cloud Nothings, Here and Nowhere Else (2014)

I’ve been looking forward to this album the last couple of months.  I was a huge fan of their Albini produced 2012 record Attack on Memory, and this record feels like it’s appropriate progression.  The band congealed their sound, but not in a tempered way. The original chaotic brashness and the rich dirt tones are still present from attack on memory, but the band is writing tighter and more infectious melodic hooks.  

(Source: Spotify)

scalesofperception:

Colosses | Fabrice Fouillet | Via
Statues are often idealized works of art. They are ideological, political or religious representations and attempt to turn their subjects into fascinating, eternal figures. Even when erected to keep alive the memory of a single person, a statue that lasts many generations will eventually establish itself as a symbol for the community. 
Statues are even more influential when they are monumental. An edifice can be said to be monumental when it is unusual, extraordinary and physically imposing. It has to be abnormal — as exceptional as the political or religious power itself — and also inseparable from its symbolic aspects.
The series “Colosses” is a study of the landscapes that embrace monumental commemorative statues. 
SoP | Scale of Environments
ZoomInfo
scalesofperception:

Colosses | Fabrice Fouillet | Via
Statues are often idealized works of art. They are ideological, political or religious representations and attempt to turn their subjects into fascinating, eternal figures. Even when erected to keep alive the memory of a single person, a statue that lasts many generations will eventually establish itself as a symbol for the community. 
Statues are even more influential when they are monumental. An edifice can be said to be monumental when it is unusual, extraordinary and physically imposing. It has to be abnormal — as exceptional as the political or religious power itself — and also inseparable from its symbolic aspects.
The series “Colosses” is a study of the landscapes that embrace monumental commemorative statues. 
SoP | Scale of Environments
ZoomInfo
scalesofperception:

Colosses | Fabrice Fouillet | Via
Statues are often idealized works of art. They are ideological, political or religious representations and attempt to turn their subjects into fascinating, eternal figures. Even when erected to keep alive the memory of a single person, a statue that lasts many generations will eventually establish itself as a symbol for the community. 
Statues are even more influential when they are monumental. An edifice can be said to be monumental when it is unusual, extraordinary and physically imposing. It has to be abnormal — as exceptional as the political or religious power itself — and also inseparable from its symbolic aspects.
The series “Colosses” is a study of the landscapes that embrace monumental commemorative statues. 
SoP | Scale of Environments
ZoomInfo
scalesofperception:

Colosses | Fabrice Fouillet | Via
Statues are often idealized works of art. They are ideological, political or religious representations and attempt to turn their subjects into fascinating, eternal figures. Even when erected to keep alive the memory of a single person, a statue that lasts many generations will eventually establish itself as a symbol for the community. 
Statues are even more influential when they are monumental. An edifice can be said to be monumental when it is unusual, extraordinary and physically imposing. It has to be abnormal — as exceptional as the political or religious power itself — and also inseparable from its symbolic aspects.
The series “Colosses” is a study of the landscapes that embrace monumental commemorative statues. 
SoP | Scale of Environments
ZoomInfo
scalesofperception:

Colosses | Fabrice Fouillet | Via
Statues are often idealized works of art. They are ideological, political or religious representations and attempt to turn their subjects into fascinating, eternal figures. Even when erected to keep alive the memory of a single person, a statue that lasts many generations will eventually establish itself as a symbol for the community. 
Statues are even more influential when they are monumental. An edifice can be said to be monumental when it is unusual, extraordinary and physically imposing. It has to be abnormal — as exceptional as the political or religious power itself — and also inseparable from its symbolic aspects.
The series “Colosses” is a study of the landscapes that embrace monumental commemorative statues. 
SoP | Scale of Environments
ZoomInfo
scalesofperception:

Colosses | Fabrice Fouillet | Via
Statues are often idealized works of art. They are ideological, political or religious representations and attempt to turn their subjects into fascinating, eternal figures. Even when erected to keep alive the memory of a single person, a statue that lasts many generations will eventually establish itself as a symbol for the community. 
Statues are even more influential when they are monumental. An edifice can be said to be monumental when it is unusual, extraordinary and physically imposing. It has to be abnormal — as exceptional as the political or religious power itself — and also inseparable from its symbolic aspects.
The series “Colosses” is a study of the landscapes that embrace monumental commemorative statues. 
SoP | Scale of Environments
ZoomInfo
scalesofperception:

Colosses | Fabrice Fouillet | Via
Statues are often idealized works of art. They are ideological, political or religious representations and attempt to turn their subjects into fascinating, eternal figures. Even when erected to keep alive the memory of a single person, a statue that lasts many generations will eventually establish itself as a symbol for the community. 
Statues are even more influential when they are monumental. An edifice can be said to be monumental when it is unusual, extraordinary and physically imposing. It has to be abnormal — as exceptional as the political or religious power itself — and also inseparable from its symbolic aspects.
The series “Colosses” is a study of the landscapes that embrace monumental commemorative statues. 
SoP | Scale of Environments
ZoomInfo
scalesofperception:

Colosses | Fabrice Fouillet | Via
Statues are often idealized works of art. They are ideological, political or religious representations and attempt to turn their subjects into fascinating, eternal figures. Even when erected to keep alive the memory of a single person, a statue that lasts many generations will eventually establish itself as a symbol for the community. 
Statues are even more influential when they are monumental. An edifice can be said to be monumental when it is unusual, extraordinary and physically imposing. It has to be abnormal — as exceptional as the political or religious power itself — and also inseparable from its symbolic aspects.
The series “Colosses” is a study of the landscapes that embrace monumental commemorative statues. 
SoP | Scale of Environments
ZoomInfo
scalesofperception:

Colosses | Fabrice Fouillet | Via
Statues are often idealized works of art. They are ideological, political or religious representations and attempt to turn their subjects into fascinating, eternal figures. Even when erected to keep alive the memory of a single person, a statue that lasts many generations will eventually establish itself as a symbol for the community. 
Statues are even more influential when they are monumental. An edifice can be said to be monumental when it is unusual, extraordinary and physically imposing. It has to be abnormal — as exceptional as the political or religious power itself — and also inseparable from its symbolic aspects.
The series “Colosses” is a study of the landscapes that embrace monumental commemorative statues. 
SoP | Scale of Environments
ZoomInfo
scalesofperception:

Colosses | Fabrice Fouillet | Via
Statues are often idealized works of art. They are ideological, political or religious representations and attempt to turn their subjects into fascinating, eternal figures. Even when erected to keep alive the memory of a single person, a statue that lasts many generations will eventually establish itself as a symbol for the community. 
Statues are even more influential when they are monumental. An edifice can be said to be monumental when it is unusual, extraordinary and physically imposing. It has to be abnormal — as exceptional as the political or religious power itself — and also inseparable from its symbolic aspects.
The series “Colosses” is a study of the landscapes that embrace monumental commemorative statues. 
SoP | Scale of Environments
ZoomInfo

scalesofperception:

Colosses | Fabrice Fouillet | Via

Statues are often idealized works of art. They are ideological, political or religious representations and attempt to turn their subjects into fascinating, eternal figures. Even when erected to keep alive the memory of a single person, a statue that lasts many generations will eventually establish itself as a symbol for the community. 

Statues are even more influential when they are monumental. An edifice can be said to be monumental when it is unusual, extraordinary and physically imposing. It has to be abnormal — as exceptional as the political or religious power itself — and also inseparable from its symbolic aspects.

The series “Colosses” is a study of the landscapes that embrace monumental commemorative statues. 

SoP | Scale of Environments