The list price is the opening bid for an Online auction to be conducted by Alex Cooper Auctioneers in conjunction with Hubble Bisbee Christie’s International Real Estate beginning on Thurs., Oct. 5th and concluding on Tues., Oct. 10th at 11 AM. Pre-Auction Offers are strongly encouraged.

11915 Park Heights Avenue features a grand and exquisite luxury estate home nestled in the picturesque Greenspring Valley, gracefully connected by a bridge that traverses a babbling stream. Designed by the esteemed Architect Vince Greene, this majestic abode was masterfully crafted by JP Builders, with interiors meticulously curated by the renowned Jay Jenkins/Jenkins Baer, and lighting by the gifted Bob Jones. The verdant landscape surrounding this residence was artfully created by Bob Jackson.

Recently expanded and renovated, the home is impeccably maintained, boasting finishes crafted with the finest materials, including hand-scraped walnut floors that exude warmth and character. With six bedrooms, five full and four half baths, and a guest annex/private office complex, this home offers an array of luxuries fit for any lifestyle. Upon entering, guests are welcomed by a grand two-story marble foyer that flows gracefully through classic columns to the living room. The stair hall is adorned with open curved staircases and a wide portal that leads to a formal dining room with a natural stone floor and French doors that open to a charming deck.

The kitchen, a stunning addition, features natural stone floors, quartz counters, and top-of-the-line appliances that elevate the culinary experience. The great room is a haven of comfort, with a cast stone fireplace, coffered ceiling, and built-in surround sound, while the cozy den is perfect for intimate gatherings, with its fireplace, archway to the bar, and French doors that open to the enchanting pavilion. The main level also includes a home office with built-ins, two powder rooms, a laundry room, and an oversize 3-car garage.

The sumptuous primary suite on the second level is a sanctuary of relaxation, with its marble spa bath and two custom-fitted dressing rooms. Four additional bedrooms, one with a sitting room, three baths, and a second laundry room complete this level. The walk-out lower level features the sixth bedroom and bath, two exercise rooms, and a large bonus room. The attached three-level guest annex/private office complex offers many opportunities for use, while the large 2013 pavilion with its fireplace, dining, and seating areas is perfect for outdoor entertaining. The pavilion flows seamlessly to patios and gardens, including a covered porch off the kitchen with a cooking center, creating a harmonious connection between indoor and outdoor living. This estate is equipped with state-of-the-art systems, recent updates and renovations, tremendous open-air parking capacity, and professionally landscaped, partially wooded 5.53 acres adjacent to Caves Valley Golf Club.

 

 

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Super City

Sanctuary (self-released)

Within the first 20 seconds of this new album from Super City, you know one thing for sure: it’s going to rock. The five members of this indie-pop (or “freak wave,” as they’ve recently been dubbed) band have the trappings of real-deal rock stars, and this second full-length record shows how ready they are for the big stage. Cue the lights for 10 sensational songs that are pure, infectious fun. Frontmen Dan Ryan and Greg Wellham take turns in the spotlight, shifting between gentle croons and soaring cries, but each bandmate gets his time to shine across playful anthems and power ballads. With undeniable chemistry, they imbue every inch of this record with a magnetic luster, filling each corner and crevice with shimmering sound via cascading drums, searing guitars, golden harmonies recorded on their iPhones, and Wall of Sound choruses that rattle your soul. You can hear the influences—’70s and ’80s idols including Freddie Mercury, David Bowie, even Prince, with a touch of hair metal—but Super City’s ferocious energy, as shown in their live shows, is uniquely their own. Wherever you are, whichever song you listen to, just make like the band and dance.

serpentwithfeet

soil (Secretly Canadian)

It’s not often that an artist comes around who has created something completely new. It would be easy to call singer Josiah Wise, aka serpentwithfeet, experimental or avant-garde, but his music refuses to stay inside even those lines. Instead, he creates his own hauntingly beautiful brand of R&B, combining the gospel roots of his choir-boy childhood in Baltimore with a goth aesthetic and atmospheric soundscapes honed in his new home of Brooklyn. This debut album is a body of work to be listened to from start to finish, as each song paints a vivid scene, toying with themes of good and evil, lust and loss, darkness and light. His singular voice plays a cast of characters—a scorned heart, a feverish lover—that layer and multiply into an intricate chorus, all ruminating on the multitudes of love. Across serenades, spirituals, and devotionals, his tenor flitters and flutters, soaring in height and free falling with abandon. The result is an otherworldly collection of songs that are both tranquil and tempestuous, devout and dubious, resolute and wayward all at once. With fame at the fringes of his coattails, this chameleon of an artist is one to know now. Or yesterday.

Maybe you’ve seen the video: All-white jumpsuits. Chelsea boots. Infectious dance moves. And, of course, the jangly slow jam melody of their single, “Artificial Sin.” But local indie-pop band Super City is so much more than last summer’s quasi-viral mini-film.

The band’s second full-length record, Sanctuary, out later this month, shows off their staying power. Its 10 sensational songs are the kind of rock-star-worthy anthems and power ballads that just don’t get made anymore, featuring searing guitar solos, all-out soprano vocals, thunder-and-lightning drums, and full-blown shimmering fun.

Earlier this month, we sat down with frontmen Dan Ryan and Greg Wellham to talk about the new album, the band’s friendship, and, of course, their fancy footwork. Catch their record release show at the Ottobar on September 29.

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I hear the two of you go all the way back to high school.
Dan Ryan: We met in biology class.

Greg Wellham: Dan sat right behind me. We first connected by playing music on our desks together. Dan would start tapping a pencil and I would hear it and then tap my fingers. We would transfer beats back and forth and then get yelled at by our teacher.

D: We eventually played some random gigs together, like someone’s house party at an indoor pool, but we were never in the same band.

G: All throughout high school, and even into college, when we both went to Towson University, we never had a band. We didn’t start writing music together until our senior year and the first song was actually “Find You” off our first EP.

D: I think it worked out though. We developed our own individual styles and skillsets and then finally brought the two together.

Speaking of styles, what were some of your initial influences? We definitely hear some ’70s icons in some of your songs.
D: Definitely. My dad was a trumpet player at the Kennedy Center in Washington, D.C. He was a huge influence. After my parents split, my brother went off to college, so it was basically just me and my dad, hanging out, talking about all kinds of music all the time together. I think I always knew I wanted to be a musician. I would fantasize about performing in front of people. I played trumpet and also had this little Cassio keyboard that I would put on the guitar setting and use to write little riffs before I ever learned how to play the real guitar.

G: My dad was really into classic rock. Sabbath and all that. My mom introduced me to a lot of Light FM stuff—Patsy Cline, Whitney Houston, Gloria Estefan. I played saxophone in middle school but coming into high school, I discovered the guitar and realized that was all I ever wanted to do from there on out. The singing came way later for both of us.

Is it hard having two frontmen?
D: It’s a constant clash of power! [Laughs.] No, we’re a unit.

G: In writing our songs, we take turns, which keeps things interesting. One of the hardest parts about being in a band is just getting along. I don’t want to jinx it or anything, but we really just enjoy each other’s company and respect one another. Everyone is a full-time musician so we’re all on the same page with professionalism and work ethic and just honing our craft. Plus these guys are really funny—we’re constantly making each other laugh.

With your live shows, Super City exudes an old-school level of showmanship. Where does that come from?
D: Nowadays people see it as a gimmick, but dance is a very integral part of music and the arts, and it’s the best thing in the world to do. We don’t tell people that we’re a dance band so there’s always this element of surprise at the beginning of the set where the audience is questioning: “Do I like this?” People have expectations of what a rock show is going to be, but there are no rules to our set.

G: And why wouldn’t you want to dance? We just really like the feeling of bringing people together. There’s nothing more exciting than when you finally catch the audience’s attention and then you see it start to spread. By the end of the set, the entire place is sidestepping, which is really fun to watch.

How did you come to include choreography into your shows?
D: I started incorporating dance moves because we had a lot of pedals and it was too hard and awkward to keep switching them over from section to section. Out of that, I thought, wait, everyone needs to dance! We then went and saw St. Vincent who was doing her own kind of David Byrne thing, and by our spring tour in 2016, we had our first two moves. Now they’re incorporated into almost every song.

How did it feel after your “Artificial Sin” video took off the way it did last summer?

D: I don’t think we expect things often. We always hope it goes well, whatever that means, but we just wanted to make a cool video and share it with our friends. It’s weird sending yourself out into the world like that and seeing what people will think of this version of you, especially wearing all white and spinning around with your guitar. I think that single was also really exciting because we finally had something that really represented the direction we wanted to go.

And where is that?

D: There’s this certain thing that we have live that’s hard to capture in a recorded song. It’s kind of this grittiness—these well-polished songs but with an edge. But now we’re letting ourselves open up and do crazy things, like we’re going to have more guitar solos and we’re going to dance and do all this stuff that we were kind of afraid to do before.

What freed you up to do that?

D: Honestly, recording most of our songs on our iPhones.

G: On the first album, we were constantly trying to recreate the demos, which proved to be impossible. It was so frustrating to try to recreate some single guitar solo or special vocal, but then we realized that we lived in an age where we didn’t have to. Coming to that realization was a game changer.

D: Recording on our phones, we’re capturing the first point of raw inspiration, which is not something you get to do often in the recording process.

G: I definitely feel like the first album was us trying to figure out what we’re all about, and on this second album, we have such a good idea of who we are, and where we want to go. I think it’s a really accessible album. I’m really looking forward to having all types of musicians listen to it. I think there’s something for everybody on it.