A constant figure in the modern British underground, Kelly Jayne Jones is in a permanent state of preoccupation, whether making new hauntology drone for Bloxham Tapes, working on experimental operas or sound-tracking installations. Making use of found objects and electronics, Jones’ music is always metamorphosing. Recently, though, she’s been interested in creating music for communities, sounds that can provide a ‘supportive environment to explore emotion’.
Jones’ striking audio-visual work has developed an entire language of its own. She has never ceased to investigate; in hcmf// 2016, she performed with her band part wild horses mane on both side, their pared down toolkit and psychedelic improvisations delivering a joyous kind of noise. Returning to the festival in 2019, Jones crafted a work of sensory overload, one defying even her own categorisations, conjuring up astral images and impossible sounds. Elsewhere, Jones’ recent projects have included an expansive soundtrack score for a film premiered at Venice Bienalle 2019, and an art installation using the lithophones of John Ruskin at the Whitworth Art Gallery.