Michael Fremer
Michael Fremer is the editor of Tracking Angle and a longtime audio journalist, radio commercial producer, and voiceover artist. He covers music through the lens of high-end audio and vinyl playback, treating records and the systems that reproduce them as a single story rather than separate beats. His coverage combines close listening notes, pressing and mastering history, and detailed descriptions of playback gear, aimed at readers who care as much about sound quality and formats as they do about artists and songs. Across music reviews, equipment tests, interviews, and show reports, he writes for an audience of serious listeners, record collectors, and hi-fi enthusiasts.
"Rubber Soul" Gets the Well Deserved Full Box Set Remix Love
Fremer’s music writing focuses on how records sound, how they are made, and which editions are worth owning, rather than on artist gossip or scene coverage.
In his piece on the "Rubber Soul" box set, he addresses mono and stereo variants, remixed editions, and session outtakes, framing the release in terms of format, mastering choices, and what each pressing offers on a revealing system. Reviews of Mobile Fidelity’s one-step edition of Michael Jackson’s "Bad" and John Coltrane’s "My Favorite Things" similarly weigh source tapes, pressing quality, and format differences, translating audiophile concerns into clear listening guidance.
His coverage of The Stooges’ "Fun House" for Rhino High Fidelity and of White Stripes’ "Elephant" on UHQR presents reissues as technical projects and listening experiences at once, discussing cutting chains, dynamics, and how these versions compare to earlier pressings.
He also reports on expanded Beatles "Red" and "Blue" hits collections and on what he calls the best-sounding edition of Steely Dan’s "Aja", again centering sound and production decisions as the core story. Outside Tracking Angle, his feature on Todd Rundgren for Analog Planet reflects the same approach: a musician profile built around recording craft, the listening experience, and the kind of audience that values those details.
Frontiers In Modern Groove Extraction
Fremer’s work extends beyond reviews into the technology of vinyl playback and the people shaping it.
At the High End Vienna 2026 show he moderated a panel titled "Frontiers In Modern Groove Extraction", bringing together figures who contribute to improvements in vinyl reproduction and framing the discussion around how advances in cartridges, arms, and turntables translate into audible results. His article on Speakers Corner, a long-running all-analog reissue label, presents an in-depth conversation with the company’s leadership about licensing, production, and the pressures facing high-quality reissues, with an emphasis on how those business realities affect the records collectors can buy and hear.
Show coverage such as Warsaw Audio Show reports and product debut roundups place new gear and formats in context for his readership, highlighting which innovations matter for serious listening rather than simply cataloguing announcements. Across these pieces, he writes as a participant in the audiophile world - moderating panels, asking technical questions, and reporting back to a community that shares his focus on groove extraction, mastering chains, and playback systems.
A Chemical Engineer Talks Record Cleaning - Fluids and Cavitation
Fremer frequently turns record care and playback setup into reported stories rather than advice columns.
In "A Chemical Engineer Talks Record Cleaning - Fluids and Cavitation", he interviews an engineer who is also an audiophile and record collector, probing cavitation, surfactants, and the molecular interactions between water and vinyl to explain why certain cleaning approaches work and others do not. The piece treats a niche topic as serious subject matter, translating scientific detail into practical implications for preserving records and improving playback, while maintaining a conversational tone grounded in the interviewee’s expertise.
Elsewhere, he uses comparative demonstrations to challenge assumptions, as in "Turntable Comparison Video Yields Hundreds of Fascinating Comments", where he presents the same record played on two different turntables with identical arm, cartridge, and phono preamp to show that turntables do not all sound alike. That feature integrates written commentary with video, equipment specifics, and listener reactions, illustrating his habit of combining demonstration, technical description, and editorial argument in a single package.
Even room-tour content like "Tour Michael's Room in 4K" becomes a way to show his working environment, the gear under review, and the records he lives with, reinforcing the credibility behind his recommendations.
McIntosh's First Stand-Alone Phono Preamp Is A Real Smoothie
Fremer writes equipment pieces with the same intensity he brings to record reviews, focusing on how products behave in use and what they offer to listeners.
His review of McIntosh’s MP100, the company’s first stand-alone phono preamplifier, balances company history with practical listening impressions, paying attention to how the unit integrates into a system and what sort of user it suits. Other Tracking Angle pieces review moving-coil cartridges like the Koetsu Onyx Platinum, vibration control devices such as Seismion’s Reactio 2, and a range of turntables, amplifiers, and loudspeakers, always with attention to price positioning, design intent, and performance at realistic listening levels. He describes small-footprint systems and low-level listening in ways that speak to enthusiasts building serious setups in ordinary rooms, not just in dedicated listening spaces.
Through this equipment coverage, he bridges hi-fi and music: gear is always discussed in terms of how it serves records, from classic jazz titles to rock, pop, and contemporary reissues. That mix of musical knowledge, technical competence, and long experience across print magazines, dedicated vinyl sites, and his current role at Tracking Angle defines his beat and sets his work apart from more general music reporting.
4 more music journalists.
Andrea Dresdale
Andrea Dresdale manages entertainment content at ABC Audio and covers music-driven pop culture for news and audio platforms. Her beat centers on chart-friendly pop, new releases, mainstream artists, awards, residencies and industry milestones. She also reports on legacy acts, anniversaries, nostalgia, remixes, live performances and music’s links to film, television, streaming and social media. Her notable coverage includes Taylor Swift, BTS, The Weeknd, Madonna, The Beach Boys, Bruce Springsteen, Patty Smyth and Miley Cyrus. Her work has appeared through syndicated ABC Audio coverage on outlets such as WRMF, KS95 and Hot 96.7. Dresdale writes concise, timely pieces for radio audiences. She frames songs, tours, specials and career moments through cultural impact, fan appeal, commercial momentum and lasting relevance. Her stories connect current hits with music history and show how artists maintain attention through new releases, collaborations and reinterpretations.
Andrew Weber
Andrew Weber uses accountability reporting to examine who benefits from decisions shaping Austin’s music ecosystem. He reports for KUT as a government accountability reporter and works as a freelance reporter and associate editor for KUT News across the public radio network. His music coverage focuses on musicians’ pay at festivals, health care, mental health services, venue relief and working conditions. He treats SXSW as a workplace and economic system, reporting on low fees, sponsorships, boycotts and the political choices behind the festival. He also covers government and institutional issues, including KUT’s relationship with the University of Texas and the firing of general manager Debbie Hiott. His reporting ranges from nonprofit support systems to experimental sound art. He plays music on the side and brings digital storytelling experience, including an Edward R. Murrow award for social media work.
Andy Greene
Andy Greene is a senior writer at Rolling Stone who stands out for long-form interviews and narrative features that follow artists across entire careers. He focuses on music, especially classic rock performers, live shows, tours, and band dynamics. He runs the interview series Unknown Legends and King For a Day, which center on veteran musicians, sidemen, collaborators, and singers who replace legendary frontmen. He also writes cover stories and major features on high-profile figures, including Radiohead, Howard Stern, Bill Withers, Nathan Fielder, Steve Perry, Pete Townshend, and Stephen King. His reporting relies on access, detailed questioning, and a deep command of rock history. He also writes about film and television when they connect to music and culture.
Anna Grace Lee
Anna Grace Lee is a Vogue reporter who covers pop musicians and celebrities through fashion, weddings, and lifestyle culture, focusing on dresses, events, pets, and subcultures rather than industry news. She writes scene-driven features that place entertainers in vivid settings, from villas to underground food markets, and treats music-adjacent stories as fashion and craftsmanship narratives. Her Dua Lipa Sicily wedding coverage shows how she frames a wedding dress as a haute couture moment and a pop-cultural milestone, emphasizing design, making, and handwork. Her Millie Bobby Brown miniature poodle piece reflects a consistent interest in celebrity pets, fandom, and off-stage persona. She also reports lifestyle features like Brooklyn’s buzziest underground cheese sale, embedding in niche food scenes. At Vogue she contributes to weddings, celebrity, living, and Met Gala coverage, and maintains a portfolio of culture and lifestyle work built around entertainment-adjacent storytelling.