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British sound sculptor Jonathan Coleclough (1963), originally a member of
collective Ora
(with Andrew Chalk, Darren "Monos" Tate, Colin Potter),
operates at the border
between droning ambient music (or, better, "deep listening") and abstract
electronic music
as documented by
Sumac (Siren, 1997 - ICR, 1999), a collaboration with Andrew Chalk,
the impressive Cake (Siren, 1998), reissued and remixed as Cake (version 2) (Siren, 2002), one of ambient music's masterpieces,
Minya (1999), a collaboration with Colin Potter and Andrew Chalk,
windlass (Staalplaat, 1999) and even more by Period (Anomalous, 2001), one of the most soothing and monolithic compositions in the repertory of droning music.
Low Ground (ICR, 2002), a collaboration with Colin Potter and saxophonist Tim Hill,
Beech For John and Miho (Sea Pool, 2003), a collaboration with saxophonist Tim Hill,
and the untitled collaboration with Potter and Steven "Bass Communion" Wilson (ICR, 2004)
are subtle electroacoustic works that redefine chamber music for the ambient age.
Casino (Idea, 2003), instead, simply collects two field recording (a casino and frogs).
Makruna (ICR, 2004) is a series of manipulations of
piano notes, mixed with metallic noise and field recordings.
Long Heat (ICR, 2005) is a collaboration with
Japanese improviser Kuwayama "Lethe" Kiyoharu.
Husk (ICR, 2006) is a collaboration with Murmer.
(Patrick McGinley). Drones are obtained from
the sound of refrigerators, thunderstorms, sheep, car horns, ferryboats, windblown sand and crackling charcoal.
Torch Songs (Die Stadt, 2007), consisting of two LPs and a CD,
is a collaboration with Andrew Liles.
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