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.
1st May 2015
1st May 2015 Repertoire Closed
Regrettably Repertoire has now ceased trading. We would like to thank our loyal clients for their support over the past few years, and hope to see you again elsewhere.
Our catalogues can be found in new homes so please seek out your favourites. We will continue to assist with any specific enquiries by email, via firstname.lastname@example.org .
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.
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:
Tel: 020 7306 4101
Full information online here
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.
6 November 2012, 8:09 am
6 November 2012, 8:09 am Get in the van!
We’re due a Grunge revival, apparently. Kurt burning out was the zenith of no sell-out, we-mean-it-man-ness. Now we’re in an age of people deliberately wanting to sell-out and be “famous”. And some people think that’s just plain wrong and sad. I thought it was just me. Happily not and, hence, get ready for Rock with purpose, soul, integrity, whatever.
Years ago I worked at MTV BN (Before Nirvana). A play list from hell on a loop: Madonna; Michael Jackson; Phil Collins. Really, it would make you spew. Then, “Teen Spirit”. Suddenly guitars were hip again and Rawk filtered into the playlist. What made me laugh was suddenly seeing Sonic Youth with a big video budget played during the day on MTV. Scores of other bands were “discovered” who had been grinding away for years playing small clubs.
Henry Rollins wrote a great book called “Get in the Van” about his days with Black Flag, criss-crossing Reagan’s America for years, playing gigs where no-one else went. Gradually the shows got bigger as word-of-mouth spread and kids, not conned by MTV and the mainstream, started doing it for themselves, creating little scenes. Nirvana were just one of hundreds, inspired by Black Flag and others like them: songs you didn’t hear on the radio, except college radio stations. Black Flag were hardcore and made Crass look wimpy.
The Eighties were a grim time, especially if you didn’t like New Romantics, Stock Aitken Waterman (Kylie wasn’t always cool, you know), and the revival of some dodgy careers, post- Live Aid. I mean, Queen…really? The UK had the Smiths and shoe-gazers as an alternative. Twee nonsense. Rave came at the end of the decade but that’s another story. Most of the action was bubbling away in the USA.
So, by way of a trip down my memory lane of the 1980s, here are some guitar bands that kept the flame alive. First up, Sonic Youth. Cool art-school New Yorkers who knew their Stockhausen from their Stooges:
Husker Du were the scene’s Cream – a heavy power trio who played hard, fast, melodic rock/punk. They were on SST which was like Sub Pop before Sub Pop, without the money. They actually signed to Warners early on but fizzled out by the time Nirvana broke big. Bob Mould formed Sugar and had proper chart success but the Du were the real thing. Still one of the best bands I’ve ever seen live – this clip doesn’t quite capture the face-melting strength of their riffage, ahem.
J Mascis and Dinosaur Jr were the Neil Young & Crazy Horse of the pack. Another power trio, they wailed and shredded axe. The ultimate slacker band. Great live too.
It wasn’t all boys. Here’s a band with three Susans in the line-up called, er, Band of Susans. Couldn’t find any footage of them. Which is not unusual for the period – cameras and stuff cost money and without the internet back then bands did it the hard way: gigging. Kids today etc. This tune rocks.
The next two are ugly, dirty, druggy, deranged. I loved them. Now they probably seem quite tame but back then, when Bros, New Kids on the Block and Whitney Houston walked the planet, they looked truly dangerous. First up, Ministry, who always made me laugh…
And the Butthole Surfers. Great name, great band…
Here’s a really obscure one: The Mr T Experience. They hail from Berkeley, CA, and, if nothing else, were the big brothers to Green Day, giving them their first gigs and helping them out. MTX were more Ramones than angry Black Flaggers but the heart’s the same…
The Gun Club were the bastard inbred spawn of the Blues and Rockabilly. I loved them.
There are loads more you can check out. The Replacements. Minutemen. Meat Puppets. Descendents. Mudhoney. REM (first 2 albums). Flaming Lips (years before proper success). Not all of it was pretty but it seemed a decent response to what was going on in the world – Thatcher, Reagan, apartheid, Cold War, Phil Collins etc – and at least they struggled to find their own voice and do something different. Here’s some early Mercury Rev to end with. Enjoy.
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.
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...
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.
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.
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.
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.
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.
Quality triumphs over quantity with this brand new, connected label. An alternative music catalogue that represents both genuine artistic integrity and top quality production values, Tubesounds is the future of production music.
Icon Trailer Music
This exciting, high quality new trailer catalogue from Hollywood is being crafted by passionate producers with big budgets to create the best quality, authentic movie trailer soundtrack on the market.
Ask us about stems and new issues, or if you need some bespoke mixing or overdubbing in Hollywood, overnight. email@example.com