Songwriter for Independent Artists

Songs built from moments, not moods. Co-writing, sync licensing, and artist development.

Aotearoa New Zealand

The artists who end up here have the same problem: they know what the song should feel like, but they can’t find what it’s actually about. That gap is where I work. Co-writing and topline writing (writing vocal melody and lyrics over a track), sync-ready music for film and TV, artist development, music marketing: the craft and the business, treated as the same problem.

I work best with artists who have a clear emotional world but haven’t found the language for it yet. The ones who know exactly how the song should feel but can’t hear why it’s not landing.

Not beginners, and not artists who want something written for them. Writers who need a sharper question, a second perspective, or someone who takes the song as seriously as they do.

More about Reece
01 You reach out with something: a reference, a rough idea, a feeling that doesn’t have words yet. That’s enough to start.
02 We have a short conversation: where the project is, what it needs, what to avoid. Short conversation, specific outcome.
03 I come back with a first draft: a topline sketch, a structural demo, or a produced reference. Usually within a week.
04 We iterate, usually two to four rounds, until the song is somewhere real.
05 You leave with a finished work, clear terms on ownership, and stems if the project needs them. Nothing assumed, everything agreed.

Most artists don’t have a writing problem. They have a clarity problem. The journal is where I write through both — over 40 pieces on structure, craft, and how the music business actually works.

Read all notes

Yes — I work remotely and location isn’t a barrier. I’m based in Aotearoa New Zealand, but if the project fits, we’ll sort the timezone.

That depends on the type of collaboration and what we agree upfront. For custom toplines and co-writes, ownership terms are always discussed and agreed before we start — nothing is assumed. If you have questions about how this works, bring them to the first conversation.

Usually it starts with a conversation — references, the feeling you're after, where the project is at. From there I'll typically have something back within a week: a rough topline sketch, a structural demo, or a fully produced reference depending on what the project needs. Topline writing especially tends to move fast once the direction is clear. Nothing is presented as finished — we iterate from there. Most collaborations reach a final form within two to four rounds.

Send an email to hello@liminl.music. Tell me what you're working on — even if it's vague. A reference, a feeling, a fragment of an idea is enough. I read every message and respond to all serious inquiries, usually within 48 hours.

It depends on what we're making. For toplines and co-writes, you'll receive a final mix reference, stems if needed, and any lyric/chord documentation required for publishing registration. For sync projects, stems and metadata are standard. We agree on deliverables at the start so there are no surprises at the end.

A topliner is a songwriter who specialises in writing the vocal melody and lyrics on top of an existing track or beat — the "top line" of the music. Topliners work closely with producers and artists to create the song that sits above the production. If you have a track and need a melody and a lyric that actually means something, that's toplining.

If your songs feel close but not quite landing, that’s usually the issue. They’re describing something, not capturing a moment. That’s what I help fix. I’m available to work across pop, alt, and cinematic genres, remotely and in-person in NZ.

or email directly at [email protected]

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