Having listened to this music so many times one might think that there was little new to discover. Yet, I've realised that I'm still enjoying the surface of the songs. Am I falling into a trance-like state when I hear them? Have I listened to them in a certain way for so long that I cannot penetrate their depths? It has taken Beth Winegarner's Read The Music to take me a deeper level of understanding.

"Psychonaut", "Sumerland" and "Celebrate" are, to my mind, an unlikely triumvirate for exploration, but maybe that is one of the reasons Beth has allowed me to go deeper than before. "Celebrate" in particular is a song I have always overlooked, perhaps because I know that the majestic "Love Under Will" and "Last Exit For The Lost" are soon to come. What songs wouldn't sound lacklustre in such company? This neglected gem bears greater investigation. Beth offers theories for the meaning of the wheezy breathing noises (my description, not hers) and offers new meanings for this song, and its context with the previous song, "Submission". Her interpretations of "Psychonaut" and "Sumerland" are no less revelatory. McCoy has always hidden his meaning in cryptic allusion, if Beth has uncovered one layer of meaning then it's worth the price of admission. The wonders of this book do not end there.

Beth Winegarner has made listening to The Nefilim's Zoon album an attractive proposition. Her exploration of the mythology behind the album actually had me reaching for the CD of this, the least played of all Carl McCoy's albums. In truth though I actually enjoyed reading about this album much more than I enjoyed listening to it. Sometimes I think I've spent as much time reading about things as actually doing them. Zoon’s riffs are too bludgeoning for my taste. There are moments of beauty, "Shine" in particular, but all in all Beth's chapter is much more enlightening and enjoyable. What I'd really like her to write is a song-by-song analysis of the rest of Fields of the Nephilim's music. Surely with the recent resurgence in the band's popularity there would be a market for such a tome?

Read The Music also explores other artists. I've never really warmed to Tori Amos. Yet maybe the fault lies with me. Having read Beth's words on Tori Amos I have greater respect for her. I was unaware of Amos' Native American background – and her channelling of energy responsibly in concert. What was once an unappetising album of cover versions – Strange Little Girls – now becomes an intriguing series of ruminations on the subject of gender. Without actually wishing to hear a note, now I've read Beth's book I feel I have a greater understanding of both Tori Amos and life in general.

Elsewhere Beth writes about A Perfect Circle, Apocalyptica and Days Of The New. If you already know these artists then you may learn more about them. If you don't know the music you may be inspired to investigate further. Once you've acquainted yourself with the music, you can re-read Beth's words and new meanings and connections will be understood. Even if you are an expert on these bands then Beth brings a personal aspect to her writing. She neatly balances this aspect with a more scholarly approach, never falling into the trap of navel gazing self-indulgence. Though her writing is literary and scholarly, it is never needlessly academic and should be accessible to most. If you like to think deeply about music and life (and really is there a difference between the two?) then you should read Read The Music.