Oy, there are times when this job is a headache. Never Even didn't bother to provide a press kit, just a contact sheet. The info in their disc liner is basically just names, and the band's website has only a front page. To top it off, when I search the internet for info, I find another band by the same name across the pond, and another one on mp3.com. Of course, the band in question could be one or both of the bands, or neither. In any event, this lineup features Kenny Grohowski on drums, Gary Pickard on vocals and guitar, Ken Wilkinson on bass, and Kevin Worrell on guitar. Their sound is an amalgam of metal, classic rock, and modern punk, with a hard-rock edge. There are some smoking guitar moments, when notes fly fiercely, and a good pounding drum and bass combination throughout, with a dark edge to the songs. Pickard's vocals shift from breathy, whispery tones to anger-infused rage in a heartbeat. And yet his voice can also maintain a more melodic line, as on "Guardian Angel." Though they might need a name change, and the website needs work, the music is intact and solid. Good luck at www.neverevenmusic.com.

Perhaps an unusual title for a band's second disc, and hopefully it isn't prophetic. The band's style is a bit difficult to pin down; at points there are Latin influences, quiet sections with acoustic guitars flowing, melodic and tranquil. Then there are explosive outbursts, thick guitar chords, reminding the listener of bands like Tool or Slipknot. Oh, and there's a chick singer. And if her voice is any indication, singer Melanie Brink could kick your ass six ways from Sunday. She pummels her way through the numbers here, and while there is no current singer to point to as far as similarity that I can think of, she is reminiscent of Grace Slick, in that she's out front, tough, and sounds like she doesn't take crap from anyone. And she's easy on the eyes (I am swooning over the press photo, thanks). The lucky guys that get to play behind her are a solid group, the usual lineup of guitars, bass and drums, along with a DJ (though it's hard to hear exactly what he does). In the end you get some powerful rock, good production, and a singer who continues to impress with each listen. www.superna.org

Their press is a bit mystical, more about alluding to things than the facts, noting at one point that a car crash almost took the life of a band member (hence the title?), and they switched from a band doing covers to their own stuff. I mention this because you'd think a brush with death might make you a bit happy, well, that you're still alive I mean, but the bulk of the songs here come across loaded with minor chords, or with a dark feel, as if they were singing to someone who had passed away. Lighten up, I say. A bit reminiscent of Staind, the songs unload one after another, the balance between the acoustic and electric guitar determining the dynamic. The song "No Words" starts off heavy with electric guitars, for example, but then the intro falls off and acoustic guitars dominate. By the time the chorus arrives, the electric wakes you up again, the vocals start to sneer, and then the level drops again. The closer, "Fall Away," is a bit of a rocker, but by the time it arrives, I have fallen away. Find the band at www.givenband.com.

Much in the same way that studio bands such as Steely Dan take an approach to recording, that is to say, hiring studio hotshots for backup musicians, recording their songs in the process, so goes Edge of States down the same path. They have no interest in performing, and don't adhere to certain styles or genres -- they play the stuff they like. Well, they play the stuff Peter LoIacono writes. As producer and multi-instrumentalist, this disc is his baby. And the various people he hosts, or collaborates with, perform his music. Their collective indifference for stylistic preference yields a disc that wanders all over the road, from rock to fusion, to soft jazz, and points elsewhere. Is it successful? Well, the playing skills are there, that's for sure. And all the songs, taken together, though spread out stylistically, kind of fit in a way, despite their refusal to be heaped in one descriptive spot. After all, with all the songs written by one guy, how disparate can they be? To me, it boils down to goosed-up fusion/smooth jazz -- and that's not a knock; that's just how it feels. But since they aren't going to play out, and they admit their music isn't what gets played on radio, they shouldn't be hurt by less than stellar reviews. Not my cup of tea, but well done. See for yourself at www.edgeofstates.com.

If you were told a young girl grew up in the Midwest, was influenced by the greats of the time, like Johnny Cash, Elvis Presley, and Loretta Lynn, and went on to study classical music and achieved a Masters degree, what kind of sound would you think she had? Her band is minimal at best, at most it sounds like a second guitar and percussion. Her voice is deep and inviting, at first it seems a tad heavy and dark, yet past the initial reaction, a respect builds for just how Zimmer attacks the songs. And it is in those sultry pipes that your listening pleasure is attained. There are no histrionics, no squelching or squeaking, just a subtle intent that builds when needed, falls back on quieter sections, yet is always at the helm. For the most part, the songs feel dark, or on the darker side of folk, yet they don't feel down trodden. More of a tension that works the sullen attraction of her voice against the more upbeat music, and the conflict makes the songs work. A fine debut. www.kathyzimmermusic.com

From Brooklyn comes a collection of tunes that harkens back to the early '90s, with songs that might remind you of the Sundays, the Cardigans, the Cranberries or others in that pop vein. The music is upbeat and peppy, with a lot of airy, jangling guitar work, floating female vocals (for the most part), and melodic bits and pieces that get stuck in your head quite easily. And given that this was recorded in an apartment, the sound quality is quite good, though the band could have benefited from a big studio and producer, since the songs demand a bigness in sound. There is a certain sameness to some of the material, that might lead you to a sense of deja-vu (and I'm not talking about the two songs with a different mix), but that's less of a knock than to say the band works hard at the style of music they perform. The song "The First Time" blends in some good guitar solos, with some nice melodic coloring. The remix of "Battle of Britta," labeled "Dominatrix Mix," shows someone in the band knows his way around the dance floor, or at least what gets the little ravers to move, as it sets up an infectious hypnotic groove. Worth looking into. Promising, as well. The only website I could find was www.cdbaby.com/cd/scratcher.