Jonathan Coleclough is a composer who transforms the delicate sounds of everyday objects into mysterious and sensuous music. Starting from raw sounds as diverse as water boiling on a stove, sheep bells ringing on a remote hillside or pins dropping onto the floor, he creates music of richly textured drones and fragile details. Sometimes the music is far removed from the original sources, at other times it exposes and explores fine details of the sounds.
In solo performance this process of transformation of the everyday is made explicit by live video projections that show close-up details of him using the objects that serve as his instruments: a sheet of glass, a burning sparkler, a metal bowl, a melting ice cube.
He also makes sound installations which offer listeners an opportunity to explore a created sound world at their own pace. These installations incorporate sound material from the environment where they are located.
He has performed in the UK, Europe, Australia, USA and Japan.
Since 1996 he has had over thirty releases on CD, LP and 7" vinyl including:
2008 Bad Light’ CDR, duo with Colin Potter
2007 Torch Songs’ 2LP, duo with Andrew Liles
2006 Husk’ CD, duo with murmer
2005 Long heat’ CD, duo with Lethe
2004 Drop’ 7" vinyl, solo
2004 Makruna · Minya’ CD, solo
2003 Jonathan Coleclough · Bass Communion · Colin Potter ’ double CD
2003 Casino’ LP & CD, solo
2003 Beech for John and Miho’ CD, duo with Tim Hill
2001 Period’ LP & CD, solo
1999 ‘Sumac’ CD, duo with Andrew Chalk
Further details of performances and recordings, including numerous reviews, can be found on this website.
DJ10-4, reviewing Sumac in DJ magazine, UK, Jan 2000
Masterfully produced, evoking mysterious abandoned buildings or walks through a forest at dusk.
Christina Kubisch, writing about Husk in Artforum Magazines Best of 2006
100% human, deeply moving, and apt to mesmerise you in such ways that you will want to pause to take stock of the vastness of the world and everything in it.
Ed Pinsent, reviewing Period in Sound Projector 9, 2001
Responsible for some of the most beautiful drone records we have ever heard
Jim Haynes, reviewing Casino on the Aquarius Records website, July 2003
Makes this listener feel as though hes inhabiting the hallucinations of a starving squirrel trapped inside the hollow of a tree
Byron Coley, reviewing Drop in The Wire 248, October 2004