Christian Wibe

Christian Wibe (born December 1981) is a Norwegian composer, musician and music producer. With his band Animal Alpha of which he was founder and main composer, he released 2 albums and 1 EP. Christian also produce, engineer and mix albums for other artists of which several of them has been nominated and winning in the "Norwegian Grammys".

In 2008, Christian composed his first score for Tommy Wirkola's film Dead Snow. Since then he´s composed the music for several feature films, TV series and commercials.

Biography
Christian Wibe heightened the bloodstained camp in Dead Snow and Dead Snow 2: Red vs. Dead by playing the crazy chaos-a platoon of Nazi zombies running rampant in the Alps-with a completely straight face. The first entry was Wibe's film scoring debut, and he employed the muscles he'd honed as founder and songwriter of the popular band Animal Alpha. From there Wibe scored the crime comedy Tomme Tønner with grungy swagger, wrote a motivic, mysterious score for the comedic miniseries Hellfjord, and lent his diversity to Kill Bill parody Kill Buljo 2. He sympathetically underscored the breakaway web series hit Skam, which dealt with weighty issues in the context of a school drama. Next up is the intense action sci-fi thriller What Happened to Monday?, which inspired a score full of big, orchestral emotion, infused with electronics.

Wibe grew up in Oslo, Norway, and had trouble focusing from his youth simply because his mind was swimming with music. He picked up the guitar at 12, and leaned into the world of hard rock-inspired by artists ranging from Pantera to Michael Jackson. In 2002 he formed Animal Alpha. The cheeky hard rock band swept their home country (nominated multiple times for Norway's version of the Grammys), and toured internationally, and their successful sound landed Wibe at the doorstep of Dead Snow director (and now frequent collaborator) Tommy Wirkola.

"My first score was an eye opener," Wibe says. "I already was battling feeling restricted by the band format. The score makes such a big impact on a film and it's very satisfying work. I think modern film music often is very electronic-oriented or very orchestral-oriented. It's rare to hear scores with interesting electronics and interesting orchestra writing. I would like to be one of the composers to bridge that gap."