Johnny Coley
Suggests Nightfall
110pg. Paperback Book
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Suggests Nightfall is like a surreal Southern diary brimming with sensuous language 

and 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.

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Johnny Coley
Antique Sadness
Vinyl / Digital + 12 pg. booklet
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On his debut LP, Alabama poet & performer Johnny Coley delves into the saltwater pool  

of 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). 
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Seasonal Séance 
Complete Cosmic Wheel
4CD set + 36 pg. liner notes book
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Modal fantasias that speaks the language of spirits ::: 

Complete Seasonal Séance series on CD! Features a booklet of new liner notes adding further
context to the project and additional artwork. Made by 32 artists working in 16 different cities,
this is truly a deep dive into the current American Underground. A specially curated soundtrack
for the cycle of the seasons.

Byron Coley on the winter volume:
"Great tape from the new Alabama underground. This is the fourth volume in a cycle of comps
related to the seasons and is a blend of noisy free rock, primitivist new music style moves and
environmental collages recorded at various semi-musical events. It's a good and intriguing peek
into a hive of largely hidden activity..."  -Wire Magazine







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Ghost Food
Night In My Mind
CD / Digital / Art Print Set  
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You're in a great aunt's house, only it was abandoned in the 1950s
and god that floral wallpaper wreaks of age...


Ghost Food is a new project from Paul Wilm (Nowhere Squares, Acre Pillows) and
Joel Nelson (Silica Gel, flusnoix, solo). This creepy mini album is a feast for the haints
in the woodworks, an offering ripe for the Halloween season. The duo improvises with
custom electronics and acoustic instruments & objects, while Paul weaves in haunting
spoken word fragments and field holler vocalizations....pushing the music into an
avant-Southern Gothic territory.



“...the four tracks combine spectral ambience, obtuse spoken word, and memorable songwriting
to wondrous effect, and each moment is just as enigmatic and beguiling as the next, whether Wilm
is muttering surreal observations about biscuits (“Little Things We Said”) or Nelson is conjuring
unforgettable beauty from his arcane arsenal of instruments (“Ghost’s Come Home”).  -Noise Not Music

Joel explains how it began:

"It was so unintentional. He just came over and started doing weird shit. He had this thing he brought  with
cardboard tubes that he started singing into. And then we had a ghostly experience in the house. Even MayMay
started walking towards the door and we were just playing....and we thought someone came into the house and
walked into the other room or something. That's what all those references are, it's all about that ghost encounter we had.

Paul was singing into the tube, and I was playing the trogotronic, and it sounded like a human voice...the synth
sounded like a human voice...i think it was the frequencies we were hitting,...i think it really triggered a ghostly
experience for us....it was very vocal, very much in that range...and it just had this feeling like there was a human
presence there......and that's what's audible on the first track.

So we were in the music room.......i wasn't even talking to Paul yet, and we were playing...and I looked up, and
MayMay was there and looked toward the door (in the other room) as if you had come home. It was an audible
stimulation that someone was there...it was a fascinating thing that we shared. It was a weird experience to have
with someone.....to have the exact same feeling. So that's where the name came from...Ghost Food.
Like a ghost that eats sounds."

A Halloween mix curated by Noise Not Music featuring Ghost Food
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Sweet Wreath featured in About Town: read here!


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