Composer and music supervisor Markus Wormstorm launched Biblo in 2012 as a direct response to a problem he repeatedly encountered in his own work. He saw how often directors and editors were forced to choose between generic library music or tracks that were culturally right but impossible to license. Biblo was created as a third option, giving local and international productions direct access to contemporary African sound that could move seamlessly from offline edit to final delivery.

Biblo.tv hosts over 10 000 hours of music, with stems available across the entire catalogue. For editors, that means flexibility during the offline process. For directors and producers, it means music that can be adapted, cleared, and finalised without last-minute panic or creative compromise. Afrobeat, Amapiano, experimental electronic, reimagined traditional forms – all chosen for rhythm, pacing, and emotional precision rather than trend alignment.

What began as a practical workaround has since grown into an influential music platform. Today, Biblo.tv connects commercial and longform filmmakers to a rich and deeply curated catalogue of African music built for real production workflows. 

Biblo’s story actually starts earlier, around 2010, back when agencies still briefed musicians in person. At those meetings, Markus would arrive with CDs in hand, punting Biblo as a side hustle. The discs featured music from bedroom producers and independent artists, many of them friends, all of them largely invisible to the industry. The idea was simple: help get money to talented musicians while positioning Markus as a one-stop shop for music that agencies could trust.

That scrappy, solution-first mindset shaped Biblo from the outset. Under Markus’ direction, Biblo evolved from a side hustle into a platform trusted by commercial and longform productions locally and internationally. When the first site launched in 2012, it featured a modest search engine and a design that encouraged discovery rather than familiarity. Instead of pushing recognisable names, Biblo surfaced unknown artists and made licensing feel achievable, even for smaller productions or fast-moving edits.

Biblo grew alongside Markus’ own career. A music producer and film composer, he has built a body of work that spans film, advertising, animation, games, and longform storytelling. Alongside Biblo, Markus’ own work as a composer and music supervisor has been widely recognised on the global stage. His accolades include a Bronze Clio, multiple Loerie wins for Best Music, a SAFTA for Best Achievement in Original Score, and Ciclope awards. His work has also been shortlisted at Cannes Lions and recognised by major international festivals including Annecy and Clermont-Ferrand, cementing his reputation as a composer whose craft travels comfortably between film, advertising, animation, and emerging formats.

In 2025, Biblo entered its most ambitious phase yet. Partnering with Malvah.co and Codeswop, Markus launched the latest version of the platform, redesigned specifically around how directors and editors search for music today. Playlists are easily shareable, AI-driven search gets users to the right emotional and tonal space fast, and the platform is structured to support both hands-on discovery and music supervision-led workflows.

“Biblo.tv functions as a direct line into Africa’s musical underground. It gives global productions access to sound that feels current, specific, and alive, while ensuring the artists behind that work retain ownership and are paid fairly,” adds Markus. “Click into any Biblo playlist and you’re tapping into more than a decade of relationships, trust, and cultural fluency.” And it’s all shaped by someone who understands both the creative and practical realities of production, and has built a platform that continues to help African music find its way into stories told around the world.

Wanna (s)talk some more? Biblo website.