Chasing Paragon It’s refreshing to hear a young female fronted band not trying to follow in the footsteps of the Paramore model. This Jersey quartet lead by a brother and sister team of DYLAN NIERADKA and NIKKI NIERADKA makes the Top 20 with a smoothy blues track called “Please Don’t Slip Away” reminicent of classic Edie Brickell meets Sara Keys meets Rickie Lee Jones. If they stay on this path and style they will be creating considerable distrance between them and other artists coming from the Garden State. Chasing Paragon has played at venues such as SUMMER- FEST in Milwaukee (SoR) the legendary Stone Pony in Asbury Park, and numerous clubs in & around the NYC area. After The Millennials After the Millennials” is an American band made up of 2 sets of twins, Seth, Sarah, Nate, & Naomi Crandall. Their love for music began at a very early age as their home was filled with instruments and music due to their father being a musician himself. Nate’s focus is on percussion, vocal harmonies, and writing. Naomi’s focus is on guitar, vocals, and song writing. The rest of the band is composed of Nate & Naomi’s twin brother and sister Seth & Sarah. Seth is currently minoring in piano composition and has influences ranging from classical to punk. Sarah plays the bass guitar and double bass. Her musical interest definitely can be found in the 90’s punk movement, but she Lochness Monster Lochness Monster is a Miami-based band that creates a melodic and unique blend of rock music. With an eclectic style and diverse musical tastes, Bruce Donaldson (Singer), Justin Shaner (Guitar), Brad Eavenson (Bass), and Rene Rivera (Drums) incorporate elements of rock, shoegaze, punk, and alternative metal. Each member drives a certain pairing of uniqueness to round out their sound beginning with Shaner’s dynamic and distinctive guitar melodies, Donaldson’s classically trained vocal range exceeding 4 octaves, Rivera’s drumming precision and powerful stance behind the kit, and Eavenson’s rock and blue’s styling on the bass. to do. And if you try to write “On the Loose 2,” and “Wind Them Up 2,” it’s gonna be really obvious, though. So I think we just kept forging ahead as things happen, but music kept changing really fast, right up to the grunge thing. It was like, you know, where do we fit into this mess? And, you know, like, how do we get any exposure while everything’s so different around us.But I think most of the time we just tried to just do something that felt like Saga that year. The most ri- diculous one was when we got to “Generation 13.” We knew we’re not getting on the radio anymore, and the record company gave us a wonderful budget to make that record. So we actually ended up, I remember, writing out the recording list of what tracks needed to be recorded. I put them on a door in my studio in Los Angeles, and it cov- ered the whole door. It was 25 songs. Obviously there were no singles on it, there was no nothing. We were just going to go on a musical ad- venture and use the great budget we had to do something different. You know, there’s some of this. I heard a song the other day, I can’t even tell you what it was, but I didn’t until about 10 seconds into it even know it was us. I can’t remember, it was just somebody playing a song and I just went, oh crap, that’s us. But it was a song that we never played live and it was on one of the albums and I can tell you which album it was but it’s really funny. I just didn’t know there were so many songs. Sometimes the ones that just made it on the record and I probably haven’t heard them for 15 years. It’s just that. What’s the biggest change in the industry in your career? JIM: Oh my gosh! I mean, I think as soon as the download thing started happening and everybody in Los Angeles is running around going mortar and bricks, and they think CDs are gonna keep selling forever. I went: there’s gonna be a whole new thing happening pretty soon and I think that that has really made it very difficult for new bands that have a budget to do something correctly and make it really high quality. I think people are making good records at home. But I Photo Credit: Joe Schaeffer think in a lot of cases, if you can get four or five people in a room for a couple of months, and just let them duke it out as to what’s the best moment, that’s the best way of approaching this section. I’m actually trying to set up my house right now to be able to do record drums. If somebody is sitting in Germany, I can record them here in Canada. But I also want to be able to have the entire band on the screen or whoever I’m working with, and get that collaboration back. Jim Crichton appears courtesy of Atom Splitter PR. Page 63