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 the only publisher 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.

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AUSTRALIA

Ph +61 3 9445 0500

PO Box 1570
Collingwood, VIC 3066
Australia

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

Jaime Gough - International Manager
jaime@nativetongue.com.au

Daniel Younger - Creative Manager
daniel@nativetongue.com.au

Gaylene Williams - Copyright & Royalties Manager
copyright@nativetongue.com.au

Natalie Bell - Licensing & Admin Assistant
natalie@nativetongue.com.au

NEW ZEALAND

Ph +64 9 378 9667

PO Box 8926
Symonds Street, Auckland 1150
New Zealand

Savina Kim - Creative Manager
savina@nativetongue.co.nz

Contact Form

Native Tongue does not give feedback on unsolicited demos or unsolicited material.



Charlotte Martin BIOGRAPHY

After five years and two releases on RCA Records, Charlotte left the label in early 2005. Undeterred, she formed her own label, Dinosaur Fight Records.

With a newfound freedom to create music, Charlotte found herself at musical and personal crossroads. Two years of virtually nonstop touring had effects. While on the road, Charlotte experienced the spectrum of human emotion: heartbreak, loss, guilt, and triumph.

No longer beholden to the demands of label executives or hampered by artistic insecurity, Charlotte emerged a strong, self-aware artist knowing what she wanted from her career, and what she needed to feed her muse.

Coming into her own as a composer/producer/engineer, Charlotte experimented extensively in the studio, both lyrically and sonically, she wrote about faith and relationships, allowing herself to be honest about letting some things go and fiercely holding on to others. She approached the production with the same fearlessness. Charlotte now has a collection of powerfully diverse tracks showcasing the true power of her voice and skill as a songwriter.

DISCOGRAPHY & CREDITS

  • Something Like A DVD (2007, Dinosaur Fight Records)
    Something Like A DVD (2007, Dinosaur Fight Records)

    If you have never checked out Charlotte Martin's music, this is a good starting point. Something Like a DVD is the bridge piece between Charlotte's debut album, On Your Shore and sophomore album, Stromata.

    Buy Physical CD
  • Reproductions (2007, Echo Field Recordings)
    Reproductions (2007, Echo Field Recordings)

    Reproductions is Charlotte's chance to cover songs by Massive Attack, Interpol, K.D. Lang, Pearl Jam, Snow Patrol, New Order, Cocteau Twins, Sinead O' Connor, Joni Mitchell, The Cure and Tim Buckley.


    Buy Physical CD Buy on iTunes
  • Stromata (2006, Dinosaur Fight Records)
    Stromata (2006, Dinosaur Fight Records)

    Stromata is not only the story of a girl who saw her way through hardship, but also the statement of a woman who took charge of herself and her music, redefining what she is made of.

    Buy on iTunes
  • Veins (2005, Test-Drive Records)
    Veins (2005, Test-Drive Records)
    Veins does not stray from Charlotte's classic enlivening style. As promising as In Parentheses, as invigorating as On Your Shore and Darkest Hour-Veins signifies the personal and professional growths of Charlotte's career and persona. An exploration of human relation, Veins is a glimpse of Charlotte's forthcoming sophomore full-length, Stromata.
    Buy Physical CD Buy on iTunes
  • On Your Shore (2004, RCA Records)
    On Your Shore (2004, RCA Records)

    The vibe throughout these 13 songs is pure Amos--piano-driven, dark, theatrical, sweepingly orchestral--but doses of Kate Bush-style button-pushing and Cure-modeled insouciance bump up the interest level. So does the songwriting.

    -Amazon

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  • In Parentheses EP (2003, RCA Records)
    In Parentheses EP (2003, RCA Records)
    Charlotte Martin is a musical marvel. She has everything you can want in a young singer/songwriter, including a powerful voice, a large vocal range, and raw emotions.

    Her pop-rock somewhat haunting goth-like style is in a genre of its own.

    -Adam Gonshor, andPOP


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  • Test-Drive Songs (2002, Test-Drive Records)
    Test-Drive Songs (2002, Test-Drive Records)
    Count Charlotte Martin's keyboard driven Test-Drive Songs as a set of passionate, emotionally open songs that don't skimp on the hooks.

     

    Martin's approach encompasses the orchestrated ruminations of Kate Bush, the poetic storytelling of Joni Mitchell, and the melancholy melodies of The Cure.

     

    For Charlotte Martin, the most important thing is making a connection.


     

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