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I started out in the mid-1990s as a music writer for places like Addicted to Noisethe San Francisco Chronicle, and ROCKRGRL. In more recent years, I've contributed music writing to the SF Weekly, PopMatters and Invisible Oranges. I've also published a book of essays on albums and musicians called Read the Music: Essays on Sound. One of those essays, "Nephilim Reborn: Zoon," has been translated into Spanish, Polish, and Chinese.


 Celebrate: Fields of the Nephilim's 'The Nephilim' at 25 (PopMatters, Oct. 28, 2013)An Unusual Heavy-Metal Love Story (The New Yorker, March 13, 2013)



Aðalbjörn Tryggvason (Sólstafir) (Invisible Oranges, July 30, 2014)

"A lot of the change took place when I discovered that Billy Corgan was writing cooler riffs than Fenriz."

Eric Quach (thisquietarmy) (Invisible Oranges, June 4, 2014)

"I don’t suppose the extroverted ADDers are particularly attracted to the zen, but the world might just be a tad quieter if they were."

Pallbearer on the Appeal of Doom Metal and Being Unafraid of Classic Rock (SF Weekly, Feb. 7, 2013)

"There are a lot of people who associate heavy music and angst. But I echo to another place when I'm playing, another realm of consciousness. It's very cathartic."

Jenks Miller of Horseback (Invisible Oranges, April 18, 2012)

"I believe that—despite the technological advances of past decades—live rock music is best served in the undercooked and oversexed manner of The Stooges."

John Dyer Baizley of Baroness (Invisible Oranges, Feb. 28, 2012)

"The DIY and punk rock ethos is about finding your own identity. We will be doing that until we’re done."

Bassem Deaïbess of Lebanon's Blaakyum (Invisible Oranges, Feb. 9, 2012)

"I was arrested while at the gate of my university. Many others were arrested. Concerts were stopped. It continued until 1998, when it slowly started to fade away and people started forgetting. The whole metal and “Satanic music” issue rose again, and 2002 was hell on earth for us."

Cyndi Lauper (San Francisco Chronicle, 1996)

"Every one of us has a rhythm that's very unique. I just needed to reclaim my voice."



Smashing Through the Boundaries: Heavy Metal's Racism and Sexism Problem and How it Can Change (Bitch, May 17, 2016)

“I’ve had slurs thrown my way. I still get the up-and-down looks,” she says. “I respond by making space for myself regardless.”

Patrick Wolf: An English (Were)Wolf in San Francisco (SF Weekly, January 18, 2013)

"I have a fascination with natural disasters, and San Francisco feels like an island of natural disasters waiting to happen. It creates an aggressiveness for wanting to live."

Where the Thunderclouds Are Rolling: Baroness, Sludge, and Southern Rebellion (PopMatters, July 16, 2012)

"The part of us that speaks to an audience, there’s a spirit at work, trying to communicate something like that between band and audience—it’s very much more pronounced in the southern styles of music whether it’s country, rock, gospel, blues. It is that raw, unfettered, exposed songwriting I’ve always gravitated toward.”

Book captures Bay Area's thrash heyday (San Francisco Examiner, Dec. 29, 2011)

"Politically, the world’s in a state of utter chaos and turmoil, and that’s when this type of music seems to resonate. This aggressive sound makes them feel like they’re getting something out of their system.”

Angela Gossow, "Know Your Arch Enemy" (ROCKRGRL, 2001)

"I always felt that I couldn't sing. I thought I couldn't hold a tone. I felt much more safe screaming somehow."



Do Not Betray a Metal Woman (Invisible Oranges, June 19, 2012) 

It’s time, at least, to stop talking about women in metal as though they’re imaginary, as though they’re not right here, at the edge of the stage, listening to every word.

Are you talking to me: Respecting women in metal (Invisible Oranges, May 18, 2011)

I don’t know what guys made of these messages. As a female fanand as someone who had been through sexual assaultit made me uneasy at best. I loved the music, mostly. But I had to love it in spite of what it told me about women.