Martijn Comes (1979, Roermond) is an Amsterdam-based composer and sound artist whose work moves fluidly between new media, electro-acoustic composition, and contemporary sound design. His practice revolves around an ongoing exploration of the relationships between mind and matter, idea and form, culture and soun—an inquiry that takes shape through his meticulous attention to timbre, texture, and the intertwining of acoustic and electronic worlds. Comes first studied Digital Communications, graduating in 2004 with a thesis on live stage performance augmented by digital media, before completing his studies in Composition for Film at the Conservatory of Amsterdam in 2010. In the early 2000s he co-founded the artist collective Headroom, active in the Netherlands, the United States, and Japan, presenting contemporary electro-acoustic work in urban and site-responsive contexts. His artistic output spans solo work, collaborations, and site-specific commissions. He has worked with a wide network of experimental and contemporary artists including Frans de Waard, Hessel Veldman, Giulio Aldinucci, and Nicoleta Chatzopoulou. A significant strand of his recent work focuses on the carillon, for which he has composed several acclaimed pieces. His carillon work 'EANN' premiered at St. Bavo Church in Haarlem and opened the 2017 edition of Le Guess Who? in Utrecht. Further commissions include 'MOTHER' for the Dom Church Utrecht (Gaudeamus Festival) and 'Radiance, Time'—a work for carillon, tape and electronics—commissioned by the Rewire Festival. Comes’ music has been broadcast internationally, with airplay in Spain, Poland, Norway, Ireland and beyond. His interdisciplinary collaborations extend into film: he has worked with filmmaker Thomas Mohr on 'Resonance and Learning Curve', curated by LIMA Media Art Platform, with 'Resonance' selected for the “Best of” Ars Electronica in 2010. Most recently he collaborated with Fernando José Pereira on the 2025 film 'Behind the Skyline'. Across his diverse projects, Comes continues to shape immersive sonic environments that bridge classical, electronic, and experimental traditions. His work for carillon in particular explores architecture, space, time and ritual—reimagining historical instruments and heritage locations through a contemporary, contemplative lens.