Native Tongue Music Publishing

Native Tongue Music Publishing
Native Tongue is an independent music publisher, with offices in Australia and New Zealand.
Besides acquiring rights to local writers, we also administer the works of overseas writers and catalogues for Australia and New Zealand.

Established in 2003, Native Tongue has built a respected catalogue of local writers. We set out to provide writers with a publishing company dedicated to assisting with the development of their skills as songwriters and composers throughout their careers.

Although we are a small company, we see this is one of our major advantages. It enables us to be far more proactive than our competitors and react quickly to the needs of our clients, whether they be film and television companies, commercial advertisers or the bands of which our writers are members.

We see our role as getting out there and getting things done, working with the band, the management, the record label and the distributor to make things happen.

Our job is to work with you to help you achieve your goals, as a songwriter and in many cases; an artist. We have a broad network of contacts we can utilise in all areas of the business – record companies, distributors, booking agents, promoters, publicists, radio, etc.

We will work with you, your management and record distributor to maximise sales of your record. You probably have most bases covered but there will always be something we can do to help squeeze those extra sales. It may be that we help a band get on a festival bill, provide advice on obtaining touring grants or come up with that song opportunity in a film that breaks through at the box office – who knows – it's an ephemeral business and its not always easy pinning down where things will come from.

If you are looking to place songs with other artists we have a worldwide network of contacts who work songs on that basis. If you want to co-write we will work with you to develop connections with writers you want to work with. If you want to compose film or television scores we are ideally placed to help you realise these ambitions.

We get out there and do the hard yards wherever it is required.

We have over the years developed publishing relationships internationally and through our music supervision business have come to know those companies who work particularly hard gaining sync licenses and pursuing the ancillary income that is available around the world. We have also established a network of international sub-publishers to administer our works around the world. In each case our sub-publishers are established independents with a long term track record of working within their own territory.

Native Tongue also enjoys strong relationships with all the major US, UK, Canadian and European music supervisors and can submit clients works for use in a wide range of projects around the world.

We are also one of the only publishers with offices and staff on the ground in Australia and New Zealand enabling us to fully represent your copyrights in the key markets in our home territory.

Native Tongue is closely associated with Mana Music which is the major music supervisor for feature films, television series, and documentaries in Australia and New Zealand. As a result Native Tongue is in a strong position to place its writer's songs in the wide range of projects.

A similar situation applies in respect to television commercials where once again Mana Music is the major provider of licensing services to the advertising agencies.

CONTACT DETAILS

Australia
+61 3 9445 0500

PO Box 1570
Collingwood, VIC 3066
Australia

Chris Gough - Managing Director
chris@nativetongue.com.au

Matt Tanner - A&R / Creative Manager
matt@nativetongue.com.au

David Nash - Copyright & Royalties Manager
david@nativetongue.com.au

Kate Mills - Licensing & Admin Assistant
kate@nativetongue.com.au

New Zealand
+64 9 378 9667

Po Box 8926
Symonds Street, Auckland 1150
New Zealand

Jan Hellriegel - General Manager
jan@nativetongue.co.nz


United Kingdom

Jaime Gough - International Manager
jaime@nativetongue.com.au
Boy In A Box

Boy In A Box

It takes a certain kind of four-year-old to dedicate every single Sunday, from wake until sleep, to listening to the Beach Boys on repeat. Some would say a wildly precocious or even (but don't quote us) mildly freakish one.

Tobias "Tij" Priddle, the 23-year-old behind the glistening riot-pop anthems of Boy In A Box, was that kid

Years later, a move to Melbourne would see him expand on a musical obsession that had gripped him since high school – the clattering hooks of the UK punk era and the everyman stance of Americana, as well as elements of early soul and grainy FM pop – to inform the heart of Boy In A Box. The Clash is in there, as is Springsteen and even hints of a young Midnight Oil. "Right now I'm stuck on the seventies," Tij considers of his influences. "As well as Nina Simone and Frank Sinatra."

There were, of course, bands and bedroom projects that came before Boy In A Box's inception, but those became irrelevant when Tij's father passed away at the beginning of 2010 and Tij gave up on making music altogether. "I was kind of like, 'Oh, f**k, I have to do something, I have to make a change,'" Tij explains. "He always said to me, 'Do whatever you want and, if something's not working, don't do it.' And being in bands didn't feel like it was working."

Instead, Tij decided to follow in his dad's footsteps and build recording studios. Grabbing work for the man who would eventually coerce him back to the mic and become his manager, Tij put his hands to work, pushing thoughts of ever again performing to the side.

His guitar, however, wouldn't leave him alone, and a bit of serendipity stepped in when, on the job, Tij's boss told him he was looking for a song to feature in the 2010 Blue September campaign, aimed at raising awareness of cancer in men. "So I'm like, 'Well, I wrote this song at home last night, do you want to hear that?'" Tij shrugs. "And a week later I was thrown into the studio and it was like, 'Oh no, it's happening again!'"

Jump forward a couple of months and 'Moon Comes Up', with its celebratory gospel chorus and Tij's brylcreem vocal, would be all over Triple J, cementing the future of Boy In A Box. Along with gathering strong support at radio, Boy In A Box are earning their chops on the road, and will be heading into the studio to record a debut album