Jéssica Marinho
Jéssica Marinho combines rock and metal news reporting with immersive concert photography, giving Wikimetal a focused view of contemporary heavy music and the scenes around it.
She is described by the masthead as a reporter and photographer covering concerts, reviews, articles, hard news, and interviews, and is also known as The Girl Who Collected Records. Her work sits at the intersection of band-focused news, longer historical pieces, and visual documentation of shows, spanning both international acts and the Brazilian heavy scene.
Rock and metal news and band updates
Marinho’s news coverage tracks the day‑to‑day movements of rock and metal bands, with an emphasis on new releases, announcements, and industry developments. In a piece on Iron Maiden discussing which opening band they find most difficult to deal with, she uses band commentary to illuminate touring dynamics and the relationship between headline acts and their support.
She reports on international releases such as Beyond the Black’s album Break The Silence, foregrounding dates and core information about the record for fans following the band’s next phase. Her coverage of Bad Omens’ single “Dying To Love” focuses on the dark tone of the track and its accompanying music video, positioning the release within the band’s broader aesthetic.
When Ace Frehley prepares an unpublished book slated for release, she frames the project inside his long collaboration with rock writers Ken Sharp and Julian Gill, linking the news to the guitarist’s long‑running narrative within KISS history.
Marinho also follows legal and business angles around landmark rock catalogs, including the lawsuit brought by the “Baby Nirvana” model over the Nevermind album cover and the court’s decision against him.
On the promotional side of the industry, she covers fan‑oriented initiatives such as Republica raffling a guitar autographed by the band and guitarist Roy Z, highlighting how bands use giveaways to deepen audience engagement. Her weekly “rock and metal releases of the week” briefings for bands like Nervosa, Venom, and Electric Mob pull multiple updates into digestible summaries that help readers keep pace with new music.
Interviews and deeper features
Beyond straight news, Marinho writes interviews and features that dig into the stories behind heavy music and its key figures. In an interview with Venom about a new album, she pairs questions about the release itself with discussion of the “secret to longevity,” drawing out the band’s view on staying active and relevant over decades of metal history. The format mixes timely album news with reflective commentary, giving the piece both immediate and archival value.
Her feature revisiting the mysteries around Bon Scott’s death demonstrates a more investigative narrative style.
In that article, she walks through different testimonies and interpretations of the singer’s final hours, including author Jesse Fink’s argument that Scott did not die solely from alcohol poisoning and may have suffered a heroin overdose whose circumstances were later obscured. By reconstructing these conflicting accounts, she shows an interest in how rock mythology forms and how official records, fan memory, and biographical claims intersect.
Brazilian metal and emerging artists
Marinho’s coverage includes a consistent thread on Brazilian bands and newer projects within the heavy scene, balancing global names with domestic acts.
Her article on Low Tide Riders’ EP “III” introduces the band’s doom and stoner influences, presenting them within heavier subgenres and giving readers a sense of how their sound fits into contemporary underground metal. Through roundups of weekly rock and metal releases that feature groups like Nervosa and Electric Mob, she points attention toward Brazilian artists alongside international peers, integrating them into the same news rhythm.
News items such as Republica’s signed‑guitar raffle underline how she treats Brazilian bands as part of the same professional ecosystem, tracking their marketing tactics and fan outreach. Her photography credits on pieces that celebrate reasons to be proud of Brazilian metal connect her visual work to this local focus, reinforcing that the Brazilian scene is a recurring subject rather than an occasional detour. Taken together, these stories position her as a reporter who treats Brazilian metal as central to heavy music coverage rather than a niche.
Concert and festival photography
Photography is a defining part of Marinho’s portfolio, and she is described as having experience in shooting concerts, large festivals, and events, with more than 500 artists photographed. At Wikimetal, her images accompany interviews and scene features, including portraits of Edu Falaschi, live visuals from Doro’s “Warriors Of The Sea” video recorded on a metal cruise in Germany, and illustrative shots for new Brazilian metal recommendation pieces.
These credits show her role in supplying both the written narrative and the visual record of contemporary heavy music.
Her name appears on live performance imagery from events such as Rock in Rio, where she is credited for photographing Shadows at Parque Olímpico.
Across these assignments, she moves between club shows, major festivals, and cruise performances, capturing artists onstage and integrating that work into editorial coverage. Outside Wikimetal, she maintains a professional portfolio of stories, interviews, and concert photography for other Brazilian and international heavy‑music publications, extending her lens beyond a single masthead while keeping a tight focus on rock and metal. She also signs her work with the moniker The Girl Who Collected Records, underscoring a personal connection to physical music culture that runs through her reporting and imagery.
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