![]() ![]() Video game composing īowen composed the soundtrack for the 2014 game Lovely Planet. In 2014, Bowen's remix of "My Party" by Kero Kero Bonito was featured on their Bonito Recycling EP. I get that, and I love that.Bowen released his debut album titled Pale Machine in 2013. “You can hang them on your wall, and we surely have customers who don’t even listen to the disc, it’s just a case of having it. Ghost Ramp’s customers don’t necessarily have record players - it’s a case of being proud of a collectible, a keepsake. Vinyl is an art piece, explains McDermott. Obviously, from a business perspective it’s great to see people buying more things at once, but it also shows that those people are connecting to multiple scores, there’s cohesion, and that makes me excited and happy. Every order comes through my phone, which can be a little psychotic, but it’s wonderful to see people bundling up scores at any given time. “I genuinely think people are getting into our brand and concept more and more each day. ![]() Overall, though, we love bringing forward new designs and dreaming up a new world that people have never seen before, against the context of a game that they are familiar with. In games, it’s a little bit different, but if we try to keep that ethos going and put the best design forward, then I think we have similar cohesion. “That cohesiveness is very appealing, and you see it in music a lot. We did Minit, and we Pikuniku, which are both very different. “Very quickly, we tried to work with them… it’s been a total honour to collaborate with them. Even if the games are a bit eclectic, and there are differences, there’s still a vibe and theme that crosses over. “As a publisher, Devolver has always reminded me of what a record label is because their aesthetic is so cohesive across their breadth of games,” says McDermott. So, what is it about Ghost Ramp that strikes a chord with video game music enthusiasts? For McDermott, the image of the label is in part responsible, in the same way gamers have an idea of what to expect from unapologetic indie publishers such as Devolver Digital. ![]() Conversely, the video game community often demands a high-level product so far as peripheral entertainment is concerned, therefore Ghost Ramp can happily let their imaginations run wild. In the latter realm, McDermott explains that representing smaller artists often means costs are kept to a minimum, which can naturally negatively impact creativity. ![]() “McDermott says the fact that so many game composers were receptive to Ghost Ramp’s vision was empowering, mostly because designing video game vinyl can be a totally different than anything you’d usually see within the traditional music business. “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. After LISA, things moved really fast, according to McDermott. 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. 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. 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.”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. 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. ![]()
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