Leah Kardos is a London-based composer/producer making eclectic instrumental music. Her work often focuses on exploring a specific limitation, whether it be a single piano in Feather Hammer (2011), spam emails as lyrics in Machines (2013), the relationships between score and interpretation, composer and performer in Three Preludes (2013), or working with purely analogue instruments and technologies in Rococochet (2017).
Born and educated in Australia, Leah studied piano with Dorothy McCormack and Bevan Crabtree and composition under Philip Bracanin and Robert Davidson at the University of Queensland. Keyboards (pianos, synths, organs) feature heavily in her work, as do recurring motifs ingrained in muscle memory from childhood musical experiences: church bands, Hanon exercises, Debussy, The Beatles, Stevie Wonder. Found sounds and location recordings are woven into productions to suggest narratives. A fan of introducing chance elements into the creative process, Leah uses improvisation, dice and the 'Oblique Strategies' cards to steer her work in unexpected directions. Among her favourite artists are Bjork, Eno, Cage, Reich, Aphex Twin and Bowie.
Her work has been performed by the Queensland Symphony Orchestra, Ruthless Jabiru, R. Andrew Lee, Ben Dawson, Laura Wolk-Lewanowicz, Lara James & her trio Triquetra. Many of these players also feature/collaborate on her recordings.
These days Leah splits her time between creative practice and academia. She is currently employed by Kingston University as a senior lecturer in music, course leader for the BA Hons degree in Music Technology, and the Project Leader of the Visconti Studio. She is signed with Bigo & Twigetti.
Photo by J.Slee