Beats + Pieces Vol. 86

Reissues, reading and listening tips.

Selected Works is a weekly (usually) newsletter by the Te Whanganui-a-Tara, Aotearoa (Wellington, New Zealand) based freelance music journalist, broadcaster, copywriter and sometimes DJ Martyn Pepperell, aka Yours Truly. Most weeks, Selected Works consists of a recap of what I’ve been doing lately and some of what I’ve been listening to and reading, paired with film photographs I’ve taken + some bonuses. All of that said, sometimes, it takes completely different forms.

TWO REISSUES:

Two different reissues I worked with Frederiksberg Records on are out and about in the world now: Evidence for Real by Lord Shepherd and Morgenmusiken by Green Cosmos. For Evidence for Real, I used Andreas Vingaard’s research and interviews to assemble the liner notes for the record. Morgenmusiken was more low-key. I just had to edit the liner notes for that one. Here’s some details below.

The newly remastered edition of “Evidence For Real” will be released November 14th on vinyl, digital, and streaming platforms, restoring the powerful work of a drummer, composer, and bandleader who chose to walk his own path, well outside the mainstream.

In the late 1970s, four young musicians from Marsberg, Germany—despite the absence of a local jazz scene—came together to form Green Cosmos, a quartet whose sound drew equally from John Coltrane’s spiritual fire, world music traditions, free jazz, and Indian classical influences.

WHAT I’VE BEEN READING:

Girls Don’t Sync: who runs the world?: Girls Don’t Sync exploded onto the scene post-pandemic, snapping up attention and accolades with their high-octane multi-genre sets and infectious energy. Having built on their success as DJs and promoters with the launch of their own label and productions last year, the UK quartet speak to Christine Ochefu for DJ Mag about their momentous rise, and how they’ve never lost sight of their original goal of uplifting women in the booth and on the dancefloor. Read here.

Inside The Movement of Artists and Fans Boycotting Spotify: The meagre financial returns of streaming for artists has been a point of controversy since its inception. Now substantial investments in AI weaponry are causing musicians, labels, and consumers to further question their relationship with streaming giant Spotify. Fred Garratt-Stanley for Mixmag. Read here.

Tone Glow 205: xavisphone: An interview with the American producer about the thrill of baile funk, ditching the pop music industry after writing hits for Ariana Grande, and his new LP on Modern Love, ‘balança e paixão’ (2026). Read here.

WHAT I’VE BEEN LISTENING TO:

My favourite Maxine Funke album. More on Maxine Funke soon.

Julianna Barwick & Mary Lattimore are back at it with Tragic Magic.

A new album from Shy One is always a major event.

IF YOU DON’T KNOW, NOW YOU KNOW:

Legendary Colonia Independencia record collector and selector Sonido Dueñez was playing Cumbia one night in the early 1990’s when disaster struck: his turntable’s motor overheated and slowed down, turning the music into a warped groan with half-speed voices echoing over wobbly accordion and splashy guacharaca rhythms. Unexpectedly, the crowd kept dancing, and Dueñez realised he’d struck gold - Cumbia Rebajadas was born. This tape here is where everything started, dubbed in 1992 - an utterly essential cop if yr into DJ Screw, Chuquimamani-Condori, The Caretaker or Debit’s forthcoming ‘Desaceleradas’ album for Modern Love. - Boomkat

HOW TO WORK WITH ME:

This is just a general note about a few things that I think warrant some further explanation. First off, I’m going to be transparent, this newsletter isn’t a tangible income stream. It’s just something I do in my free time alongside everything else I do, so please keep that in mind if you contact me about it.

In terms of “work”, the majority of what I do can be divided into two categories: music journalism and copywriting. Over in the music journalism world, it’s a 50/50 split between pitching ideas to editors, or editors asking me to write stories. If you’re a publicist looking to pitch me, my preference would be that you pitch the website you’re hoping to place the story on and mention me in the pitch. If it makes sense to them, they’ll be in touch. If not, all good.

After seventeen years, I don’t really have the energy to pitch an idea unless I’m 100% sold on it. Generally, to be sold on something, I need to have already spent some time following the artist or label, seen the act perform, and had some kind of experience that convinces me. I live in New Zealand, so I don’t have anywhere near the same level of opportunities to get in the mix as someone in London, New York or Los Angeles. Please keep this in mind. Sometimes I’m absolutely the wrong person to ask.

The other side of what I do work-wise is copywriting. I write press releases, artist biographies, sales notes, liner notes, etc. I’ve provided this service to artists, artist management groups, record labels and festivals around the world. If this is something you want help with, email me. Speaking from experience, this tends to work best when the client already has a publicity plan or is working with a publicist. I’m not looking to see you waste money here.

Here are a few things I don’t do: I don’t write about singles or music videos, or arrange premieres. I don’t work as a publicist. I don’t help out with sorting playlisting opportunities. I almost never write album or concert reviews. They just don’t pay enough to make sense to me. That said, I am talking to a friend about establishing a DJ servicing service to get songs to the right DJs and broadcasters. More news on this soon, maybe.

FIN.