Hupper Island House - Christopher Burk .
American, b. 1960s -
Gouache on paper , 12 x 12 in.
153 notes
·
View notes
Have you ever heard of a home on a semi-detached island? This home in East Falmouth, Massachusetts was built in 1909, has 4bd., 2.5ba. and asks $1.5M. It’s located on freshwater Jenkins Pond.
It has a very Cape Cod look entrance.
There’s a family room right off the entrance.
The living room has a lovely classic look.
They have plants growing in the sunporch.
Beautiful kitchen with a view.
Two of the bedrooms.
Extra bd. in the finished attic.
There are 2.2 acres of land.
https://www.sothebysrealty.com/eng/sales/detail/180-l-1195-9dvzth/45-owls-nest-road-falmouth-east-falmouth-ma-02536
131 notes
·
View notes
Vague Plot — Crying in 9 (Island House)
Vague Plot’s jams shimmer like highways melting in the heat, running straight on through Kansas or Nebraska until they disappear in the undecipherable distance. Which is to say, they go on for while, repeating the same short grooves ad infinitum, with modest changes, until the measures blow by like mile markers and the journey transcends itself.
“Moto” which opens, metes out the time in sharp, strummed intervals, a little syncopation marking irregular edges in the tick-tocky flow. And within that context, a sax can wail, a guitar can howl, a lick can bloom and fade and collapse in distortion. There’s order so that disorder can grow, a white picket fence around wild tangles of vegetation.
Vague Plot is made up of New York City avant-indie regulars, veterans of other bands, who got together to make driving, moving, long-form instrumental music a la Can and Popul Vuh during the pandemic. The one you’d probably pick out of a line-up first is Zachary Cale, here one of two guitarists, alongside Uriah Theriaultof Woodsy Pride. Phil Jacob of Psychic Lines plays the sax sometimes and a keyboard otherwise, while Ben Copperhead plays bass and John Studer drums.
The music grows contemplative in blues-tinged “Haunted Head” before spinning off into psychotropic grooves, like some weird mesh of Loren Connors and Om. It attains purity in the slow-evolving tones of closer “Windswept” which has a bit of Kluster in its crystalline lucidity.
You might think, with Cale involved, that there’s be a rustic rocker thread in Vague Plot’s aesthetic, a little Neil Young crashing through the motorisms. There mostly isn’t, sorry to disappoint, except oddly enough, on the tape’s best cut, “Cyclic.” Here Jacob’s sax wanders in and around a heavy groove that’s ever so slightly shaded with country rock tones. It’s a puzzle palace, a metronomic experiment in extended pulse, but with a ragged heart, and it’s the wildest and most excellent part of an excellent little album. Fuck the cowbell. Let’s have more guitar.
Jennifer Kelly
8 notes
·
View notes
Listen/purchase: For the Fallen Dawn by Joseph Allred
7 notes
·
View notes
Island House, Finland
3 notes
·
View notes
Island House, Finland
0 notes
Björk’s House in Iceland Located: Elliðaey Island
27K notes
·
View notes
Aaron Dooley — The International Disassociation of (Centripetal Force/Island House)
This second outing of 2023 from Aaron Dooley’s seven-piece jazz ensemble shimmers and shifts, an indefinite haze of sound breaking, sporadically, for clear flights of melody. Dooley, a bass player out of Denver, plunks a subtle, unsettling undertow, allowing other instruments—pedal steel, saxophone, even drums—to slip to the forefront. All improvised, these cuts absorb multiple points of view into free-flowing inquiry, not muddying them, but softening the edges.
“Passing Tres” for instance weaves slow-moving textures of bass, percussion, saxophone and trumpet together, letting the drums float to foreground with their punches and cymbal shivers (that’s Diego Lucero on kit). It’s a luminous, somewhat indistinct sound with flares of fusion-y futurism, a musing, narcotic drift to it. A skirling saxophone, played by Gabriella Zelek, breaks through like a swimmer to the surface, the bass roiling deep underneath. “What About Being Alone” shifts the focus to Cooper Dickerson, his plaintive surges of pedal steel lifting out of the soundscape, while Zelek’s sax swirls and blows around him. “Reward of Consequence” provides space for Aesop Adams, the guitarist and Dooley’s partner in Osmium House, to let things rip.
The disc’s first three cuts are relatively concise. The last three stretch to wider horizons. “Westbound Alameda” does this in a lyrical, laid-back way, an elastic foundation of bass and struck percussion supporting flares of trumpet (Gavin Susalski), slithery runs of sax and, again, that gorgeous pedal steel. “Funeral of Fireflies” abstracts country pedal steel into abstract shapes, letting the thump and pound of percussion push it away from conventional twang. Adams, here, executes whistle-high harmonics that cut through the haze and Zuri Barnes sings warmly, evocatively in the background. It sounds like a slightly countrified version of Laraaji’s transcendental bliss. Dooley’s band is rooted in jazz, but not confined by it. The final track with its stand-up bass and swaggering horn line sounds the most like big band swing. It also allows the wildest bouts of brass improvisation, with Susalski arcing off into the stratosphere from a swaying, grounding foundation.
It's not easy to get even a couple of people on one page, let alone seven. These tracks show a still relatively new configuration of people finding their way together, making a shared path and diverging from it.
Jennifer Kelly
6 notes
·
View notes