Last Ninja 2
Thirteen SID subtunes scoring six levels of New York City at midnight. Central Park to The Mansion - each cue distinct in character, all bound by a unified nocturnal atmosphere. Gray's masterwork.
System 3 · 1988 · New York at Midnight
The composer who scored New York City for a 6581 SID chip and made it sound like jazz,
menace, and midnight rain all at once.
Matt Gray is a British video game composer who, between 1986 and 1991, produced some of the most celebrated music ever written for the Commodore 64 SID chip. His breakthrough came with Last Ninja 2: Back with a Vengeance (System 3, 1988) - a thirteen-subtune suite spanning six levels of nighttime New York City that remains one of the most admired pieces of SID composition ever written.
Gray's work spans three distinct eras: the Thalamus years (Quedex, Hunter's Moon, Driller), the System 3 peak (Last Ninja 2, Tusker, Dominator, Vendetta), and a Codemasters period that included Treasure Island Dizzy, Micro Machines, and several NES credits. After more than two decades composing commercial dance music, he returned to the C64 community in 2014 with the Reformation crowdfunding campaign - orchestral and electronic reinterpretations of his classic catalogue, released through his own 6581 Records label.
Read the full career history, explore the complete title catalogue, or go straight to the SID player.
The full Last Ninja 2 SID soundtrack in stereo Dolby Headphone processing - all thirteen subtunes, rendered direct from the 6581 chip with no pitch correction. Essential listening.
Thirteen SID subtunes scoring six levels of New York City at midnight. Central Park to The Mansion - each cue distinct in character, all bound by a unified nocturnal atmosphere. Gray's masterwork.
Gray's first major commercial credit. Taut, rhythmically precise SID music for Bob Pape's rotational puzzle game. The SID voices are wrung to their limit in the title track.
Atmospheric and expansive - a warm melodic title for Steve Turner's cosmic shooter. The contrast between mechanical pulse and lyrical melody anticipates the sophistication of Last Ninja 2.
Harder and more aggressive than the Thalamus work. The title theme is relentless, building tension before the shoot-em-up begins. A more industrial SID palette that shows Gray's range.
Energetic and bouncy - the title theme captures the toy-box chaos of the miniature racer. One of Gray's last major C64 credits before his transition to commercial dance music production.
Five albums of orchestral and electronic reinterpretations of Gray's C64 catalogue, funded by the community. The Last Ninja 2 source code was released under Creative Commons as part of the return.
The definitive video interview with Matt Gray - career arc from Compunet and Thalamus through System 3 and Last Ninja 2, the dance music years, and the Reformation return. The VGM Maestro series from Arcade Attack.