I think for some composers the idea of being listed next to Weezer and Courtney Love, but two of the names the label has collaborated with.

Either way, we’re happy with our niche, but I do think that’s what’s compelling about Ghost Ramp. “For some composers that’s appealing, and for some, that’s a selling point, and for others, that doesn’t really matter. “That was a testament to Danny Baranowsky – the composer to Crypt of the Necrodancer, and previously The Binding of Isaac, Super Meat Boy and a number of other amazing games – who we owe a lot to, The label narrative I was putting out there then, and still am to this day, is that we’re a bit unique in the video game vinyl market because we still produce traditional artists, we still exist in this kind of separate world. That level of intrigue is absolutely vital in Ghost Ramp’s process – that through their work they can blur the lines between mainstream, record shop music and video game soundtracks, and continue to merge the two worlds with minimal resistance.Īfter LISA, things moved really fast, according to McDermott. To this end, both McDermott and Williams consider Dennaton’s Hotline Miami as the perfect example of video games-meets-audio done well to this day – a soundtrack of which McDermott describes as non-referential, non-nostalgic, and just, well, interesting modern music. It was around this time that the Ghost Ramp guys made their first deep dive into games, predominantly on PC.

Through this, McDermott says he and Williams quickly realised that while Rockstar sits in a league of its own, the ways in which it combines the worlds of traditional music - the stuff sold by popular high street or online music retailers - with games.

Rockstar Games were so good too, its music supervision team really treated us like family and that was our first dabbling with games industry stuff.” We are all lifelong gamers, and that was such an amazing moment for him and the band. “One of the Wavves songs was used in the end credits, when you finish up the narrative portion of the game, which was awesome. Nathan curated the in-game radio station named Vinewood Boulevard, and him and Stephen Pope from Wavves fully-voiced some of the radio cues in-game. “What really was the genesis of the games side was being involved with Grand Theft Auto 5,” says McDermott. Of course, Necrodancer’s developer, Brace Yourself Games, just announced Crypt of the Necodancer/Zelda mashup Cadence of Hyrule, underscoring the relevancy of rhythm games today in the process.ĭespite the company’s penchant for peculiar indie projects, though, Ghost Ramp’s games industry roots really couldn’t have come from a more commercial source. Looking at that line-up, it’s clear music-forward games tend to catch the eye of Ghost Ramp, not least Crypt of the Necrodancer. Despite the company's penchant for peculiar indie projects, though, Ghost Ramp's games industry roots really couldn't have come from a more commercial source. They’ve since given Crypt of the Necrodancer, Hollow Knight, Darkest Dungeon, Nuclear Throne, Night in the Woods, The Norwood Suite, Pikuniku and Minit similar treatment with equally gorgeous results, each with its own eye-catching and bespoke sleeve art. Fast forward to 2015 and Ghost Ramp extended its purview to video games, when Williams and label manager Patrick McDermott – both lifelong gamers – pressed an official limited-edition vinyl run of Austin Jorgensen’s score for the quirky post-apocalyptic side-scrolling role-player LISA.

Pikuniku vinyl