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Classic/alternative rock band Broken Daisies invites listeners to lean into our soul's full potential with 'Better Man'
Classic/alternative rock band Broken Daisies invites listeners to lean into our soul's full potential with 'Better Man'

Associated Press

time5 days ago

  • Entertainment
  • Associated Press

Classic/alternative rock band Broken Daisies invites listeners to lean into our soul's full potential with 'Better Man'

'When someone comes to a Broken Daisies show, we hope they not only enjoy the music, but experience the passion and meaning we put behind our music, lyrics, friendships and show.'— Jim Petipas, drummer and band manager BOSTON, MA, UNITED STATES, July 13, 2025 / / -- New England-based alternative rock band Broken Daises is inviting listeners to lean into the full potential of their souls with 'Better Man,' now streaming on Spotify and Apple Music. 'The song's theme is the tension that rises up in every human soul between being a better man or woman — or falling into bitterness as the circumstances of life come at us,' the band reveals. 'There is a lot of relevant Adam and Eve imagery mingled in.' That imagery supports the idea that each person has a clear daily choice to live in alignment with their values — or not. The song's theme is carried by classic alternative rock instrumentation, a sound that the band has established through live gigs across the New England area. Broken Daisies is comprised of Anthony Freddura (lead guitar), Stephen Kaufmann (bass and saxophone), Ben Knight (keyboard, vocals), Jim Petipas (drums, vocals) and Renato Zeppi (guitar, vocals). The collective of musicians recorded 'Better Man' at Northgate Studios, where it was produced by Berklee graduate Tim Bongiovanni. Randy Leroy of Tonal Park mastered the final track. The invitation found in 'Better Man' is a hallmark of Broken Daisies's music: thought-provoking encouragement. An accompanying music video to be released on July 18 expands on the themes, giving listeners a visual to grasp the theme. 'I want them to feel a sense of hope and encouragement from the music. It is intended to be uplifting,' Renato Zeppi offers. Listeners are likely to experience that emboldening dose of hope when they see the song live as well. With a willingness to play any venue, Broken Daises is committed to offering performances with impact. Jim Petipas explains, 'When someone comes to a Broken Daisies show, we hope they not only enjoy the music, but experience the passion and meaning we put behind our music, lyrics, friendships and show.' That ethos informs even the band name, which references the idea that daisies are resilient flowers that can symbolize rebirth and renewal. That kind of hope is Broken Daisies's mission, whether on stage or in the studio. 'Better Man' is streaming now. You can learn more about Broken Daisies by finding their website and social platforms at Mary Nikkel Mary Nikkel Media 9033712395 email us here Visit us on social media: Instagram Facebook YouTube TikTok Legal Disclaimer: EIN Presswire provides this news content 'as is' without warranty of any kind. We do not accept any responsibility or liability for the accuracy, content, images, videos, licenses, completeness, legality, or reliability of the information contained in this article. If you have any complaints or copyright issues related to this article, kindly contact the author above.

Alanis Morissette's Career-Defining Album Returns As It Celebrates A Major Birthday
Alanis Morissette's Career-Defining Album Returns As It Celebrates A Major Birthday

Forbes

time25-06-2025

  • Entertainment
  • Forbes

Alanis Morissette's Career-Defining Album Returns As It Celebrates A Major Birthday

Alanis Morissette's Jagged Little Pill returns to multiple U.K. charts as fans celebrate the album's ... More thirtieth anniversary by snapping up new copies of the set. AUSTIN, TEXAS - OCTOBER 06: Alanis Morissette performs in concert during the "Austin City Limits" TV taping at ACL Live on October 06, 2023 in Austin, Texas. (Photo by) Alanis Morissette changed the sound of top 40 radio decades ago with her album Jagged Little Pill. By the time she released the full-length, the young singer-songwriter had already found some success in Canada with a more dance-pop-oriented direction, but she decided to switch things up and venture into alternative rock. Her third full-length, Jagged Little Pill, took over the world and has hardly faded from popularity ever since. Now, the set is back on multiple charts in the United Kingdom as fans honor its milestone birthday. Jagged Little Pill Turns 30 Jagged Little Pill was released on June 13, 1995, which means it just turned 30 years old. To celebrate the project's anniversary, fans across the U.K. began purchasing the blockbuster in large enough numbers to bring it back to multiple tallies. Jagged Little Pill reenters the Official Albums Sales chart at No. 75. It also returns to the Official Physical Albums list at No. 95. Jagged Little Pill Shoots Back Into the Top 20 Morissette's classic can be found on three rankings in the U.K., but it only needed to return to two of them. Jagged Little Pill vaults from No. 92 to No. 20 on the Official Album Downloads chart. Since it sits so low on the Official Physical Albums roster, it seems clear that fans of the singer preferred to purchase the collection digitally, rather than go out to a store and pick up a CD or vinyl. Alanis Morissette's Past No. 1 While Jagged Little Pill may sit lowest at the moment on the Official Physical Albums chart, that's the only one of the three tallies where it has previously reached No. 1. It's also the ranking where Jagged Little Pill has spent the most time, as it's now up to 225 frames — more than the length of time it spent on the other two rosters combined. Jagged Little Pill has previously cracked the top 10 on the downloads list, peaking at No. 6, while it's only ever soared to No. 15 on the general ranking of the most-purchased sets and full-lengths throughout the U.K.

Shirley Manson, the Unexpected Godmother of Rock
Shirley Manson, the Unexpected Godmother of Rock

New York Times

time02-06-2025

  • Entertainment
  • New York Times

Shirley Manson, the Unexpected Godmother of Rock

An unanswered question in modern music history is: What happened to the culture that created all those amazing female artists in the 1990s? From Liz Phair to Björk to PJ Harvey to Hole to Bikini Kill to Tori Amos and others, women with wildly different sounds, looks and opinions were as critically and commercially powerful as, if not more than, men. Yet by the early 2000s, we were all living in a Disney pop star dominated world, in terms of mainstream commercial music. Shirley Manson, the Scottish musician who has, for 31 years, been the frontwoman of Garbage, one of the most successful rock bands of the era and a major contributor to this woman-powered '90s culture, has a fascinating theory. 'Sept. 11th stopped all alternative female voices in their tracks, because when people get scared, they get conservative and what does a conservative society loathe? A dangerous woman,' she said. 'The fact is, they stopped playing alternative female voices on the radio,' Ms. Manson added, sitting in her favorite cafe in the Los Feliz neighborhood of Los Angeles this April. 'I remember someone at Interscope Records telling me KROQ [Los Angeles's alternative rock station] will only play one woman, and it's Gwen Stefani, and therefore we're putting all our marketing money into No Doubt. That literally became the dead end for that incredible explosion of female-empowered alternative voices, which were a direct result of that first incredible wave of alternative women: Chrissie Hynde, Debbie Harry, Patti Smith, Stevie Nicks. My generation was a response to that. Our careers exploded, so we were like, 'Oh, hey, everything's cool, everything has changed, the ceiling has been broken.' And then we hit 2001 and it fell to the earth.' She shook her head, continuing: 'We've now seen two decades of very carefully managed, young, mostly solo, mostly Disney, mostly theater school kids, and they're great! It brings people a lot of joy. To make somebody dance — what a great gift. I could cry just saying that. But as a result, we've also lost the esoteric and the fragile and the dark and the spooky and the fury and all the things that a patriarchal society considers not fitting for a young woman's mind.' Want all of The Times? Subscribe.

Hamlet Hail to the Thief: A fitfully thrilling mash-up of Shakespeare and Radiohead
Hamlet Hail to the Thief: A fitfully thrilling mash-up of Shakespeare and Radiohead

Telegraph

time08-05-2025

  • Entertainment
  • Telegraph

Hamlet Hail to the Thief: A fitfully thrilling mash-up of Shakespeare and Radiohead

There can be few young misfits who haven't identified with the brooding melancholy, loneliness and madness of Hamlet. Likewise, there must be plenty of alienated types who find succour in the music of Radiohead. From their 1992 debut single Creep onwards, they didn't just pioneer alternative rock but seemingly helped to 'mainstream' angst. Yes, they have their detractors, but in the eerie-cryptic vocals of Thom Yorke can lie, at times, an aura of existential insight as potent as any Shakespearean soliloquy. It makes a strange sort of sense, then, to attempt to bring together the best-known tragedy in the canon with the jittery, haunting, disquieting music of one of the UK's most internationally revered bands. This project – a co-production between Manchester's Factory International and the RSC – doesn't raid the back-catalogue in easy pursuit of box-office gold, though; there's no teen Hamlet clamping on headphones to listen to a hit like Just ('You do it to yourself and no one else') – apt though it would be. Instead, Hamlet Hail to the Thief does what it says on the tin, drawing from the more obscure but still chart-topping 2003 album whose title derives from a slogan protesting George W Bush's legitimacy – and whose feverish intensity and disruptive electronica seemed to herald a darkening world. Even then, the approach taken by co-adapters/ directors Christine Jones (who first had the idea) and Steven Hoggett, with Yorke providing key creative steers and new orchestrations, has been painstakingly sparing: the singer didn't want the text to segue patly into song ('needle drops'). However laudable that aim, the result is a hurtling experiment that only intermittently flares into brilliance. At its best, the evening (under two hours, sans interval) combines concentrated doses of the play with a distilled essence of the music that burns hard, and fuses dance-theatre with due reverence for speech. Often, though, the play sounds truncated and the music – performed live, with a band in a row of sealed-off booths – too background-ish and incidental. The opening and closing sections indicate how thrilling the show can, and could, be. Amid a monochrome design scheme, black-suited courtiers erupt in a synchronised palsied frenzy, to a thrashing tranche of the album's opening track 2 + 2 = 5 ('It's the devil's way now…'). If we were in any doubt about the malevolence of Paul Hilton's manically twitchy Claudius, the neat, subsequent use of the slow hand-clap from We Suck Young Blood during his first address underscores his vampiric aspect. Played, with pallid grace and some endearing gaucheness, by Samuel Blenkin and Ami Tredrea, Hamlet and Ophelia are given a touch more time together than usual – 'To be or not to be' is addressed to her, and movingly echoed by her later, and they ardently canoodle on the floor a bit. The repurposing of the ballads Sail to the Moon (with some Shakespearean lines woven in) and Scatterbrain, to bring out their separate, keening sadness, is sublime. More, please, where that came from. As for the incongruous blips of swearing: to bin or not to bin? There's no question about that.

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