Leonhard van Voorst
︎︎︎
Composer and Sound Artist Based in Berlin
Artistic Practice
Aura’s Dance (Music/Sound)
Fran (Music/Sound)
Nothingness (Music/Sound)
Is Movement A Desire In Itself? (Music/Sound)
Video Games
The Knightling (Music/Sound/Voice)
Pine (Music/Sound/Voice)
Hundred Days (Music/Sound)
Assassins Creed Valhalla (Music)
Borderlands 3: Moxxi’s Heist of the Handsome Jackpot (Music)
Borderlands 3: Guns, Love & Tentacles (Music)
State of Decay 2
(Music)
Other
Caro Emerald Remix (Music)
Shivelight (Music)
Bio + CV
Instagram
Tumult Kollektiv
+491707800289
leonhardvanvoorst@gmail.com
Leonhard van Voorst is a Berlin-based composer and sound artist working across video games, film, and installation.
As co-founder of the video game scoring and sound design collective Tumult Kollektiv, his experience in crafting immersive sonic worlds extends into his artistic practice. Across both his work in games and in art contexts, he approaches music as an active force that amplifies the medium it inhabits, shaping how image, movement, and interaction are perceived from within.
In his
ongoing artistic collaboration with director Theresa Maria Forthaus,
he frequently draws on choral treatments of his own voice, layered into repeating, trance-like structures, where sound, movement, and image intertwine across video and installation. In parallel, his work in video games, including projects such as Pine and contributions to large-scale productions like Assassin’s Creed, as well as collaborations with Jesper Kyd, informs his approach to composition as the creation of immersive, perceptual worlds shaped by time, repetition, and interaction.
Full Bio + CV ︎︎︎
Leonhard van Voorst
︎︎︎
Composer and Sound Artist Based in Berlin
Artistic Practice
Aura’s Dance (Music/Sound)
Fran (Music/Sound)
Nothingness (Music/Sound)
Is Movement A Desire In Itself? (Music/Sound)
Video Games
The Knightling (Music/Sound/Voice)
Pine (Music/Sound/Voice)
Hundred Days (Music/Sound)
Assassins Creed Valhalla (Music)
Borderlands 3: Moxxi’s Heist of the Handsome Jackpot (Music)
Borderlands 3: Guns, Love & Tentacles (Music)
State of Decay 2 (Music)
Other
Caro Emerald Remix (Music)
Shivelight (Music)
Bio + CV
Instagram
Tumult Kollektiv
+491707800289
leonhardvanvoorst@gmail.com
Composer and Sound Artist Based in Berlin
Artistic Practice
Aura’s Dance (Music/Sound)
Fran (Music/Sound)
Nothingness (Music/Sound)
Is Movement A Desire In Itself? (Music/Sound)
Video Games
The Knightling (Music/Sound/Voice)
Pine (Music/Sound/Voice)
Hundred Days (Music/Sound)
Assassins Creed Valhalla (Music)
Borderlands 3: Moxxi’s Heist of the Handsome Jackpot (Music)
Borderlands 3: Guns, Love & Tentacles (Music)
State of Decay 2 (Music)
Other
Caro Emerald Remix (Music)
Shivelight (Music)
Bio + CV
Tumult Kollektiv
+491707800289
leonhardvanvoorst@gmail.com
Leonhard van Voorst is a Berlin-based composer and sound artist working across video games, film, and installation.
As co-founder of the video game scoring and sound design collective Tumult Kollektiv, his experience in crafting immersive sonic worlds extends into his artistic practice. Across both his work in games and in art contexts, he approaches music as an active force that amplifies the medium it inhabits, shaping how image, movement, and interaction are perceived from within.
In his ongoing artistic collaboration with director Theresa Maria Forthaus, he frequently draws on choral treatments of his own voice, layered into repeating, trance-like structures, where sound, movement, and image intertwine across video and installation. In parallel, his work in video games, including projects such as Pine and contributions to large-scale productions like Assassin’s Creed, as well as collaborations with Jesper Kyd, informs his approach to composition as the creation of immersive, perceptual worlds shaped by time, repetition, and interaction.
Full Bio + CV ︎︎︎
As co-founder of the video game scoring and sound design collective Tumult Kollektiv, his experience in crafting immersive sonic worlds extends into his artistic practice. Across both his work in games and in art contexts, he approaches music as an active force that amplifies the medium it inhabits, shaping how image, movement, and interaction are perceived from within.
In his ongoing artistic collaboration with director Theresa Maria Forthaus, he frequently draws on choral treatments of his own voice, layered into repeating, trance-like structures, where sound, movement, and image intertwine across video and installation. In parallel, his work in video games, including projects such as Pine and contributions to large-scale productions like Assassin’s Creed, as well as collaborations with Jesper Kyd, informs his approach to composition as the creation of immersive, perceptual worlds shaped by time, repetition, and interaction.
Full Bio + CV ︎︎︎