Repertoire was founded in 2008 by Simon James and Tim Hardy, having between them worked for KPM, Music House, BMG and Zomba Production Music Libraries.
Repertoire represents the finest independent musicians and catalogues producing music for TV, radio and advertising.
Our unique approach can be summed up by the three R’s...
We aim to respond to your music requests immediately, and as all our material is new and relatively unknown, you’ll rarely hear the tracks elsewhere.
8th January 2012 Global Directions
Travel has to be the most enlightening, rewarding and enjoyable thing one can do in life, and singer/musician Carmen Daye has put in the hours researching the topic.
This album provides easy going and gentle underscores for scenes shot in Spain, South Africa, India etc, all written with a relaxing and exotic air.
Licensing Information
All the music represented by Repertoire is available for licensing for use in film, TV, radio, advertising and new media. It is not copyright free and a valid licence should be obtained before the production is broadcast or distributed. All UK licensing is administered by PRSforMusic/MCPS.
If you’re a first time user please visit www.prsformusic.com/pm
For a full copy of our Rate Card please download this pdf.
If you have any questions on this or don’t have the time to navigate it right now, please contact us and we’ll respond straight away.
TV Productions
Many TV productions are licensed under existing MCPS blanket schemes which cover the use of production music. These have been pre-negotiated by major broadcasters and often include arrangements for clearing secondary use (programme sales, internet and DVD).
Independent production companies may have existing IPC blanket licences for using our repertoire within programmes made for other broadcasters, including Channel 4, Five, S4C etc.
For more details on these please see the IPC summary pdf
Or contact the IPC Licensing team:
Email: tvprogrammes@prsformusic.com
Tel: 020 7306 4101
Full information online here
Music Details
It is important when licensing or reporting music to fill in accurate track and copyright information. This is the process by which we receive the royalties due to our writers and libraries.
Please check the following details and if you are at all unsure, we can easily help you with a quick email response.
Track title, Composer name(s), Publisher/Label (usually one and the same thing), catalogue number (eg: ABC-123), and also accurately record the duration of your usage.
18 January 2012, 12:04 pm
18 January 2012, 12:04 pm The New Boring. Or, Rock Is Dead Pt. 411
A recent Billboard magazine has “Rock Is Dead” as it’s front cover headline. There’s a part of me – the part who saw The Clash LIVE – who agrees with this. But maybe Rock’s just changed, like everything else in our post-postmodern world. It’s rock, Jim, but not as we know it.
Some speak of The New Boring. Music sales are down and record companies don’t like risk. They want safe, reliable and, well, boring. They love Adeles and Coldplays: nice tunes for uncertain times. Coldplay apparently accounted for about 50% of EMI’s sales last year. That’s a big cash cow and EMI don’t want to frighten the horses. Mylo Xyloto: only the title was weird or different or challenging, not the content. Adele’s shifted plenty units too but, without wishing to appear rude, it’s hardly reinvented the wheel. Even oh-so-edgy Amy Winehouse didn’t exactly push the envelope
The mainstream has always been a bit boring. Englebert Humperdinck had the biggest hit of 1967, not the Beatles, Stones, Hendrix, Who etc. You know, the good stuff. The silent majority has always liked it’s fluff. Here’s the Hump…
The modern equivalent might be your average X-Factor dross. The triumph of marketing over content. The question today is the same as it’s always been then. If record companies want to play it safe then what competes with The Boring? What makes a difference and adds to the equation today? All the forms are known. The template for “classic” Rock was set over 40 years ago: bass, guitar, drum. All we’ve done over the years is add more bells and whistles. An empty box of tricks.
It’s hard to compete with a past that includes Elvis, Beatles, Rolling Stones – who weren’t destroyed in 1977 as prophecised…
Rock gets scared every now and then by a Strokes, White Stripes or Libertines. What those bands have in common is that they developed under the radar and built up a community, either by playing live or using the MySpaces of this world. This is the stuff of Rock Dreams, like a Beatles at The Cavern or Stones at the Crawdaddy Club. It’s hard to grow outside the Meejah bubble now. We’re so uber-connected, plugged-in and webbed-up that most things seem to get co-opted, chewed up and spat out, faster and faster…
Bands don’t get a chance to develop and grow. I think that’s why all those Stone Roses reunion gigs sold out in record time. They were part of a scene. A secret, special moment, when Rave culture was still underground with a new drug, look, music. That doesn’t happen anymore.
Rock, film, TV and all the other Arts are still finding their way in the Twenty First Century. Technology will lead us down more and more untrodden paths. For example, David Hockney’s new show has canvases created using the “Brush” app on his iPad. Music has an immediacy that makes it connect differently with an audience, which is why live music is still popular. And people will always want to the chase the new, to be entertained by novelty. Florence & The Machine? It’s basically Kate Bush with modern production techniques. The wish to connect is still there though. People want the communal experience.
So, who’s gonna save us from The New Boring? That’s the fun bit. Hearing a tune that makes you stop and go “Yeah!”. Or just tap your toe. Or at least raise a quizzical ear. Scanning the racks and leafing the press, here’s some that seem to be getting ver Kidz excited this year. Me? Sadly, I saw The Clash and that’s my yardstick. The bar was set high…
Standard Music
Representing 40+ years of musical heritage, Standard has been a respected source of authentic and progressive soundtracks since 1968. Brian Eno, Delia Derbyshire and Gordon Giltrap are notable contributors to the back catalogue and new projects from the likes of Pinch, Joker, Richard Thair of Red Snapper and DJ Krust keep this eclectic and progressive mix fermenting further.
Standard's music has featured in many award-winning productions including US hit series such as Sex & The City, Desperate Housewives, Malcolm In The Middle and Shark, not forgetting the classic UK theme tunes for Upstairs, Downstairs and Please Sir.
Headlock
Dedicated to Dance... Headlock is a modern day niche UK dance music catalogue catering for fashion, lifestyle and entertainment news programmes while pumping up contemporary sales tapes.
Artists already involved or on the slate include Pentatonik, The Slips, Spoonface, Wez Clarke and many more coming soon...
SoundArt
A specialist library of all things tension, suspense, drama, grief, and drones. SoundArt is created by Netherlands composer Tom Habes, who in 2007 composed the titles for Dutch TV series Crime Time and Zedenpolitie, and found himself writing in a niche of music which is very often so useful to filmmakers, like putty around glass.
In the Groove
US hip hop, pop & rock bands, singer/songwriters... the real deal, this Stateside team scour the clubs and garages from Minneapolis to Miami, NYC to LA, A&Ring to within an inch of their lives, trawling up current and credible songs that both kick ass and slip seamlessly into sync scenarios.
Recently featured in The Jersey Shore, N3mbers, Gossip Girl, Punk’d, The Hills, One Tree Hill, Cougar Town... you get the style?? Be among the first to access these artists... for the first time in the UK, get In The Groove. Licensed at UK library rates.
Tele Music
Established in Paris in 1967, Tele Music has been at the forefront of production music for over 40 years. The early days saw releases from disco kings 'Voyage', members of which still compose for Tele Music, and a host of other outstanding musicians, much of which has been rereleased throughout the years as part of the 'Kitsch, Kitsch' series.
With over 10,000 tracks across almost 200 albums, the Tele Music library has been heavily sampled by artists including the Chemical Brothers and 50 Cent, and used regularly on great TV shows such as the Sopranos, Peep Show, Brass Eye and Masterchef.
Trailer Trash
Trailer Trash is a brand new trailer/promo kit from Hollywood. From scary tension builders to flat out orchestral action themes with drones, hits, swells, whooshes and SFX. The whole kaboosh in 9 CDs with stem mixes available for each track.
The musical key and sonic tone is consistent throughout the library, so you can edit or layer from one track to another irrespective of musical style - e.g.: Drones, drum or music beds will work together with any whoosh, hit or SFX. This can make your spot sound custom scored and cohesive in minutes.
Aziana
From the Middle East, the clue’s in the title of this specialist catalogue which reflects the sights, sounds and colours of daily life from Morocco through Bahrain to India and China.
Commissioning local musicians who frequently fuze indigenous styles with Western contemporary influences, Aziana is an essential tool for 21st century filmmaking.
Hen's Teeth Music
Turning convention on its head Hen’s Teeth, produced from Victoria, Australia, is building a contemporary soundtrack library leading on small band orientated, largely guitar lead bright slices of indie electro pop.
AX'S Music
This Frenchier than French catalogue jumps with joie de vivre from pop through cheese to comedy, drama and back again, with all kinds of detours en route.
From his studio in Paris, Axel produces these ultra-useful recordings to provide you with the perfect collection des illustrations musicales, working with amongst others, Gerard Gueudin, After in Paris and Luc Besson orchestrator Marc Dall’Anese.
Omnimusic
Introducing OMNIMUSIC... A solid, creative music resource packed with the highest quality music tracks in styles most requested in contemporary media production. From pounding grunge to soaring jazz to classical strings, Omni is a creative catalyst for outstanding scoring on any project. It features a fantastic archive of authentic live recordings comprehensively reflecting 20th Century America, which is a welcome addition to the Repertoire collection.
ULTRAPHONIC
The real sonic alternative, drawn from the electronic underworld, shaped and presented by genuine electronic music originators; providing a unique source of music within a highly focused bandwidth; the creativity and quality of today’s leading boutique record labels, in production ready format; setting trends rather than following them.
Founded by Tom McCarthy, Ed Ashcroft and Paul Vials.
Score Prod Music
Founded by DICK WALTER - a hugely successful KPM writer for many years. Ably assisted by MARTIN WEBB - a production music and KPM stalwart.
SCORE is establishing itself as a byword for quality music. Working with respected composers (Roger Dexter, Matthew Cang et al), experienced producers, fine musicians and the best technology available, the philosopy at SCORE is simple: Quality Music, for Quality Productions.
La Le La Music
Authentic African music from professional African writers and artists, reflecting the colours, styles, themes and topics of this great nation.
Choral township traditional a capella works intermingle with contemporary tv drama soundtracks, but all recorded from an African perspective. Audition the full catalogue here or request a DVD, CDs or drive from Repertoire.
Repertoire Music Ltd
5 Dean Street
London W1D 3RQ
020 7287 6171
skype: repertoiremusic
info@repertoiremusic.com
tim@repertoiremusic.com
simon@repertoiremusic.com
