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Whatever the vision, our dedicated music supervision teamis on hand to offer an expert music strategy and ideas. Our extensive music network pinpoints the ideal music for your project. We have links with independent and major labels and publishers, as well as emerging artists and composers, and can find the right match for (almost) any project. More


Clearing music rights can be very complex, which is why it is important to have an experienced team of music supervisors. We negotiate, clear and license songs every day. We handle all the technicalities of the clearance, approval and contracting process. More


Some films require something tailor made. Our award-winning production team is here to help! We have identified the best artists and producers across the globe and have a specialist for any genre or sound. More


Whatever the music your project needs, we can help. Don’t hesitate to contact us via phone or email and we can start the search straight away. More

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Tracks & FieldsGo to Blog  

A Time for New Bedroom Hymns

March 19, 2020

Bag thrown on bed, Spotify turned on. It’s fair to say that most of us have songs we like to wind down to when we come home. Although Florence Welch has a particularly theatrical turn of phrase, these songs do become our “Bedroom Hymns” with which we pass time.   

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Nissin “Cup Noodle” collaborates with Berlin Philharmonie

October 16, 2020

The inspiration for the campaign for Nissin’s new flavour of their hit “Cup Noodle” product was the song “Subway Polka” created by the Berlin Philharmonie. “Subway Polka” is performed by a horn quartet directed by Klaus Wallendorf. They are singing about a subway in Tokyo, and it’s too fast even in Japanese. Japanese people find it very funny and the video went viral in Japan. Here is the video.

This project was based on a parody of “Subway Polka” called “Machigainai-Uta (No Doubt Song)”. Our key challenge was getting permission to use the “Subway Polka” melody for the parody and persuading Klaus to sing on the parody.

Although the production company tried to contact Klaus themselves to get the necessary approvals, they were not able to get in touch with him. At this point, they asked for our help and we were able to reach him the next day. We negotiated the terms and confirmed within a short period of time. It would have taken much longer and been more difficult for the production company to negotiate from Japan.

Our next issue was how to record his vocal. We sent the lyrics to him in advance so that he could prepare. The recording was then carried out across 3 cities: Tokyo, Berlin and Frankfurt. The director was in Tokyo, Anna the producer from Tracks & Fields was in Berlin, and Klaus and the recording engineer were in Frankfurt. We tried recording by having the director give his suggestions and directions first, Anna translating, and Klaus then singing take after take based on the director’s feedback. After 2 hours we were finished and everyone was happy with the result.

In the end, we had plenty of time until the campaign launched as everything with Klaus went so smoothly. The most successful element of this project was having him perform the vocals. Here is the final edit.

We were able to play to our strengths of being Berlin based and having a global network in Europe. Please feel free to ask us if you need our help.