Leah Kardos is a London-based music creator and writer.

She makes eclectic, mostly instrumental music that often explores 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). Her latest release, Bird Rib (2020), explores the reuse and reversal of previous compositions in the construction of new material.

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, Kate Bush, Aphex Twin and Bowie.

Her work has been broadcast on BBC R3 and 6 Music (UK), Triple J and Double J (Australia) and NPR (US), and 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. Her library music has been synced in many prime time TV shows (Masterchef, First Dates, Love Island, Panorama, and many more, all over the world).

These days Leah splits her time between music making, writing and academia. She is currently employed by Kingston University as a senior lecturer in music, and is the Project Leader of the Visconti Studio, a recording and research facility co-founded with legendary producer Tony Visconti. In 2019 she started the Kingston University Stylophone Orchestra, the only ensemble of its kind in the world. She releases music with Bigo & Twigetti, contributes music reviews and criticism to The Wire, and has written a book that critically analyses David Bowie's Last Works, published by Bloomsbury Academic.