Jonathan Coleclough is a composer who transforms the delicate sounds of everyday objects into mysterious and sensuous music. He takes familiar aspects of the real world and creates entirely new worlds from them. 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 filigrees. Sometimes the music is far removed from the original sources, at other times it exposes and explores hidden details within the sounds.

In solo performance this process of transformation 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.

When he performs with other musicians their instruments become a further source of raw sound to be manipulated and transformed, opening doors for the musicians to step through.

As well as composing and performing, 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.

Since 1996 he has had over fifteen releases on CD, LP and 7" vinyl. Recent recordings include:
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.
2002 ‘Period’ CD, solo.

He has performed in the UK, Europe (Germany, The Netherlands, Switzerland), Australia, USA and Japan.

Further details of performances and recordings, including numerous reviews, can be found on this website.

Some reviews:

‘Awesome dronecore, very low-end, emotional, not a dull moment.’
DJ10-4, reviewing Sumac in DJ magazine, UK, Jan 2000

‘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

‘Makes this listener feel as though he’s inhabiting the hallucinations of a starving squirrel trapped inside the hollow of a tree’
Byron Coley, reviewing Drop in The Wire 248, October 2004

‘Responsible for some of the most beautiful drone records we have ever heard’
Jim Haynes, reviewing Casino on the Aquarius Records website, July 2003