Two wiley eyed dude ranchers from Alabama embark on a psychedelic
journey into the heart of the promised land: California. They immediately
get ripped off while sleeping in a restaurant and must buy new shoes at Target....
AM Radio is a new project by John Albea (Arabada) and Joel Nelson (Worst Spills, Silica Gel).
Crunching out a catchy suite of songs with a minimal array of sounds including mangled guitar loops,
electronic treatments and lyrical reverie, the duo's debut shines like true AM gold mixed with Stockhausen.
The album has a loose travel narrative with washes of radio static and fractured transmissions that
underscore the feeling of the world passing by the window while you're living in between the channels.
AM Radio discover mysterious glass boxes in the desert of Joshua Tree
“Southern Nightmare Jazz”
Worst Spills is a new project by Joel Nelson (Ghost Food, Silica Gel), Jacquie Cotillard (The Earth Hotel),
and friends evoking a dark and tangled vision of what some call "Southern Nightmare Jazz". The tracks
were each performed as improvisations based on a theme, with Nelson playing guitar, synth & arranging
and Cotillard intoning spoken riddles and playing saxophone. Ryan Brown and James Elliot join on bass
and drums, jamming out heavy rhythms that are doomy yet nimble. Influenced by the Bay Area improv
scene that Nelson has played in for the past few years, he explores a distinctively noir-ish sound with
collaborators in Birmingham on this debut outing.
Weaving together voices of resistance and hope, this is unique mix
of spoken word, street chants & drumming, field recordings,
hiphop and electric anthems for Now:
Recorded from 2019-2021 in home studios and in the streets, this collection tells a narrative of protest
in Birmingham and of the ongoing movement for racial justice in America. The poets here spit fire in
the face of apathy. This is proof of the power of sound & words, captured in flowing, screaming, pulsating
life...a variegated song of collective struggle against oppression. This album is dedicated to Black Liberation,
and to all warriors who’ve taken to the streets to speak out against injustice.
All proceeds from this album are being donated to Margins for Black Women and Birmingham Mutual Aid.
Ashley Jones - Mind Mirage
Suggests Nightfall is like a surreal Southern diary brimming with sensuous languageand biting wit. In this, his fourth book, Johnny Coley takes us to that liminal space at the edges of language,
where ideology loses its enchantment and it's possible to see beyond the veil. Taking cue from Situationist
and Surrealist writers, Coley's prose poetry melds street level observations with wild free verse to invoke a
prismatic view of reality. This collection of writings made between the mid-90s and 2020, is a brilliant
chronicle of queer life as told by a sage of the Birmingham experimental scene. Coley's ability to improvise
words in a live musical setting is an utterly entrancing experience that many have had the pleasure of
witnessing in the past few years. Now, finally, here is the magic dust of his daily life; a deeper dive into the
poet's prolific and ongoing transformation of words into "another music." His lyrical narratives here are at
turns poignant and hilarious, conveying the absurd experience of living within the paradoxes of our current
sociopolitical state. Beyond that there is the primal beauty of earth, sky, wind and dreams that the self can
dissolve into. Suggests Nightfall takes you there.
Johnny Coley is a poet, painter and performer living in Birmingham, Alabama.
He has performed improvised spoken word since the 1970s with an array of musical
collaborators including the late Davey Williams, LaDonna Smith, Jimmy Griffin and others.
His debut album, Antique Sadness, features Johnny's mesmerizing use of language
in a musical setting that is earthy yet mysterious. This recording features his collaborations
with LaDonna Smith, Jasper Lee, Jess Marie Walker, Brad Davis and members of flusnoix.
Coley has published three previous books of poetry: Good Luck, No and Peasant Attitudes Towards Art.
On his debut LP, Alabama poet & performer Johnny Coley delves into the saltwater poolof his mind to extract lucid observations that drip like surreal front porch gossip. With a drawling voice
equally poignant and comic, Johnny's experimental storytelling unfolds like an old familiar blanket...
musty and stained with various bodily fluids...a map of time, pleasure and disintegration. The music
surrounding his verbal riffing is made by an array of off-beat combos: two banjos and a transistor radio
screeching and braying in a field, amplified chalkboard paired with upright bass and mysterious German
electronics, a brushed snare gently sizzling with harp and pyraharp. Johnny Coley & crew keep things
loose, unpredictable and juicy.
Percussionist Jimmy Griffin reflects on improvising with Johnny:
Jimmy: I had a mustang that hadn’t broken yet. Johnny lived at Highland Towers, you know the one, the middle
tower between the two parks. And there was a cool, black gentleman named Horace, who could do the moonwalk.
He lived in the projects in West End, close to where I lived. So every morning, I would get in the mustang, drive to
the projects parking lot to pick up Horace, go to Highland Towers, pick up Johnny, and it was a Mountain Brook
lawn service, drive to Mtn. Brook, and do this lawn service gig. Oh and then Johnny was the driver for the lawn
service truck we were using. And they would send us on jobs in Mtn. Brook, and we would get lost half the time
(laughs), and we’d have to come back and say, “We couldn’t find the house!”
Jasper Lee: It’s like a labyrinth over there.
JG: So, one of the things was, um… I think the lawnmowers had a brand name like “Lawnboys”. So Johnny and I
would joke about, “Well, we gotta load the lawn boys onto the truck”, like they were living things. It was a wild job.
But I remember everyday, you know, it was kinda like a gig. And so.....to tell you the truth, it just seems like I always
knew Johnny. So I can’t tell you when I met Johnny, but we had mutual friends, mutual activities, and just faded in and out.
I can say about Johnny, because thinking about calling the lawnmowers the “lawn boys”, and they were like, you know,
what is it, Lord of the Rings, you know? Inanimate objects can be living objects. So I wanna say that Johnny had this
sense of improvisation always. Even while cutting grass. (laughs)
JL: Even while cutting grass.
JG: Even while cutting grass, so that’s sort of, that’s where we could have endless conversations, and when they were
over, you don’t even know what you talked about, you know......So, Johnny’s a master improviser.....though we weren’t
very good at mowing grass. (Laughs). I think Johnny’s such a good improviser cuz, like myself, we both had jobs we
weren’t really that good at. (Laughs). So if you give him something he’s really good at, like art and poetry and improvisation,
and listening and responding to musicians, well there you go. Johnny has some magic in his voice that catches everybody’s
attention, I think if Johnny’s reading or especially improving the music, people are kinda leaning forward because that voice,
that cadence, unusual juxtaposition, things you know all about and things you don’t know anything about. It just pulls
everybody in. And he knows when to stop. Some of us don’t (laughs).