Tumult Kollektiv is
Jonathan Howe - Leonhard van Voorst - Alexander van der Kruijf - Milan Nossin
What we do
We see a unique opportunity in shaping music, sound design and dialogue for games as a whole. Not only does it make it easy for our clients because we can provide all the necessary assets, tools and integrations, it also allows us to create an interplay between sound and score, whether aesthetic or technical. Interactivity is key. Instead of letting the two elements battle for the same sensory space, we take the chance to let them harmonize as a mature auditive experience.
Who we are
A rattle of synthetic noise. Streaks of a cello weaving its way through toward a bittersweet finale. Tumult Kollektiv sees games as a medium for the future, treating it as art and not merely as a form of entertainment. Setting a mature tone that can hold its own when separated, further deepening the bond between the visual and the auditive when combined. Aiming to not simply underline, but improve and grow by adding a sound that lasts.
From undulating deep drums for the Viking saga of Assassin’s Creed Valhalla, to warm and dense orchestral tones in the action-adventure of Pine. The curiosity and hunt for unique sonic worlds and constant innovation is what made the four friends Alexander van der Kruijf, Leonhard van Voorst, Jonathan Howe and Milan Nossin find each other during their studies of music & sound in the Netherlands.
After starting out on commercials for brands such as Mercedes, Porsche, and Phillips, the Berlin-based group began collaborating with industry giants Junkie XL and Jesper Kyd. Titles like The Red Bull: Racing Collection (2018) and Borderlands 3 (2019) were among the projects they completed for the two LA-based composers. From there they moved towards doing several independent projects such as Pine (2019), Desctruction AllStars (2021), and Hundred Days (2021).
We see a unique opportunity in shaping music, sound design and dialogue for games as a whole. Not only does it make it easy for our clients because we can provide all the necessary assets, tools and integrations, it also allows us to create an interplay between sound and score, whether aesthetic or technical. Interactivity is key. Instead of letting the two elements battle for the same sensory space, we take the chance to let them harmonize as a mature auditive experience.
Who we are
A rattle of synthetic noise. Streaks of a cello weaving its way through toward a bittersweet finale. Tumult Kollektiv sees games as a medium for the future, treating it as art and not merely as a form of entertainment. Setting a mature tone that can hold its own when separated, further deepening the bond between the visual and the auditive when combined. Aiming to not simply underline, but improve and grow by adding a sound that lasts.
From undulating deep drums for the Viking saga of Assassin’s Creed Valhalla, to warm and dense orchestral tones in the action-adventure of Pine. The curiosity and hunt for unique sonic worlds and constant innovation is what made the four friends Alexander van der Kruijf, Leonhard van Voorst, Jonathan Howe and Milan Nossin find each other during their studies of music & sound in the Netherlands.
After starting out on commercials for brands such as Mercedes, Porsche, and Phillips, the Berlin-based group began collaborating with industry giants Junkie XL and Jesper Kyd. Titles like The Red Bull: Racing Collection (2018) and Borderlands 3 (2019) were among the projects they completed for the two LA-based composers. From there they moved towards doing several independent projects such as Pine (2019), Desctruction AllStars (2021), and Hundred Days (2021).
Tumult Kollektiv is
Jonathan HoweLeonhard van Voorst
Alexander van der Kruijf
Milan Nossin
What we do
We see a unique opportunity in shaping music, sound design and dialogue for games as a whole. Not only does it make it easy for our clients because we can provide all the necessary assets, tools and integrations, it also allows us to create an interplay between sound and score, whether aesthetic or technical. Interactivity is key. Instead of letting the two elements battle for the same sensory space, we take the chance to let them harmonize as a mature auditive experience.
Who we are
A rattle of synthetic noise. Streaks of a cello weaving its way through toward a bittersweet finale. Tumult Kollektiv sees games as a medium for the future, treating it as art and not merely as a form of entertainment. Setting a mature tone that can hold its own when separated, further deepening the bond between the visual and the auditive when combined. Aiming to not simply underline, but improve and grow by adding a sound that lasts.
From undulating deep drums for the Viking saga of Assassin’s Creed Valhalla, to warm and dense orchestral tones in the action-adventure of Pine. The curiosity and hunt for unique sonic worlds and constant innovation is what made the four friends Alexander van der Kruijf, Leonhard van Voorst, Jonathan Howe and Milan Nossin find each other during their studies of music & sound in the Netherlands.
After starting out on commercials for brands such as Mercedes, Porsche, and Phillips, the Berlin-based group began collaborating with industry giants Junkie XL and Jesper Kyd. Titles like The Red Bull: Racing Collection (2018) and Borderlands 3 (2019) were among the projects they completed for the two LA-based composers. From there they moved towards doing several independent projects such as Pine (2019), Desctruction AllStars (2021), and Hundred Days (2021).
We see a unique opportunity in shaping music, sound design and dialogue for games as a whole. Not only does it make it easy for our clients because we can provide all the necessary assets, tools and integrations, it also allows us to create an interplay between sound and score, whether aesthetic or technical. Interactivity is key. Instead of letting the two elements battle for the same sensory space, we take the chance to let them harmonize as a mature auditive experience.
Who we are
A rattle of synthetic noise. Streaks of a cello weaving its way through toward a bittersweet finale. Tumult Kollektiv sees games as a medium for the future, treating it as art and not merely as a form of entertainment. Setting a mature tone that can hold its own when separated, further deepening the bond between the visual and the auditive when combined. Aiming to not simply underline, but improve and grow by adding a sound that lasts.
From undulating deep drums for the Viking saga of Assassin’s Creed Valhalla, to warm and dense orchestral tones in the action-adventure of Pine. The curiosity and hunt for unique sonic worlds and constant innovation is what made the four friends Alexander van der Kruijf, Leonhard van Voorst, Jonathan Howe and Milan Nossin find each other during their studies of music & sound in the Netherlands.
After starting out on commercials for brands such as Mercedes, Porsche, and Phillips, the Berlin-based group began collaborating with industry giants Junkie XL and Jesper Kyd. Titles like The Red Bull: Racing Collection (2018) and Borderlands 3 (2019) were among the projects they completed for the two LA-based composers. From there they moved towards doing several independent projects such as Pine (2019), Desctruction AllStars (2021), and Hundred Days (2021).