Chris Wirsig is a Los Angeles electronic/ambient musician. He is a multi-talented artist who creates music to fit a variety of styles associated with the film/tech industry, such as soundtracks, instrumentals, and trailers. Chris is classically trained in playing piano and saxophone, and he has over 15 years of experience in producing music. He also received training at Munich SAE Technology College in audio engineering, which influences his artistic expressions of electronica.

His work in songwriting has been ongoing since 1991, and he composed music for computer demos and commercial games throughout the 1990s. In addition to those music projects, he has gained considerable success in advancing his portfolio of work.

During 1995, Chris started an electro noire band named no:carrier. Back in 2001, he started a project titled Virtual Conformity, which features electronica/chill-out music.

He worked as an editor of KEYS magazine and created Germany's first fair-trade record label titled NovaTune. Some of his latest work consistof an original motion picture soundtrack he composed for a short mystery movie titled 20 Matches. The movie is about a serial killer in Vienna. It was released on January 22nd. He made three different songs for the soundtrack, which are all dark and intense instrumentals. The nature of the songs is very surreal and otherworldly.

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The Original Motion Picture Soundtrack for 20 Matches

“20 Matches”: It sort of sounds as if some monstrous creature is taking deep breaths in the beginning and throughout the song. In reality, it is just an electronic sound effect. This song gives off very spooky and gloomy vibes, as the instrumentation is quite haunting. There is no denying that the orchestration of sounds has a bewitching and mesmerizing output.

The music's cinematic qualities make the song suitable as background music for a creepy movie scene featuring someone fearfully roaming through a haunted house, for example.

“20 Matches - Credits”: This song still possesses the spookiness of the original version, but it appears to have more electronic sound effects involved. It sounds more futuristic and a little less cinematic, compared to the original.

The music presents more melancholic energy; it sort of encourages me to reminisce about sad moments of the past. The violin and piano make strong appearances in this song, with such vividly powerful expressions. They are what bring out the nostalgic qualities the most.

“20 Matches - Diversion”: This song has the creepiest instrumentation at the beginning, compared to the other songs, which is emphasized by the slow-moving piano.

It is the elaborately eerie sounds of the piano that give me chills. As with the other songs, the ensemble of dark, ambient sounds pull my imagination into some strange world of ghosts, aliens, and zombies, etc. This version of the original has more climactic moments that intensify the murky essence of its composition. This music sounds more like the original than the other song.

Final Thoughts

I give the soundtrack a 10 out of 10 rating. I love the romantic and ghostly elements of the music; they are the result of an extensively innovative mind. I really appreciate how Chris is careful about honing in on different sounds and allowing listeners to sense every part of the songs’ orchestration. Enjoy the music for yourself!

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