Saltysoul – ‘Dank N Drizzle’

Music Reviews

The song starts with water running and a slow bluesy keyboard and drum beat begins to play. The same tune and chord progression rings through until halfway through the song where the drum starts, and the notes begin to change. This, however, is short lived and it soon goes back to the same chords as before. This process repeats itself again towards the end of the song and eventually, it’s left with the water running sounds seeing the track out. This isn’t the most exciting of tracks and I wouldn’t recommend listening to it if water running makes you need to pee, but from my point of view despite it being repetitive it’s quite relaxing. I’m not sure if the rest of the Lo-Fi N Low-Key EP is the same but the name certainly makes it seem so.

Words: Courtney Solloway

Brandon Clarke & Tawobi – ‘No Vapes’

Music Reviews

The track starts with two guys having a conversation in a car – from what I can gather they’re looking for the track that begins to play. It then goes into what sounds like an old 60s/70s advertisement about alcohol before a low monotonous “yeah” (I think) begins to sing in the background before going into what I can only describe as mumble rap. The “yeah(s)” continue throughout this verse and whilst I don’t like the mumble rapping this by far makes it worse as you can’t really hear the track in the background. There seems to be a good beat laid down, but it’s drowned out by the “yeah” and I can just make out the piano chords which seem to be in minor. Every time you think that the backing vocals are going to stop they jump back in. The rapper himself whilst mumbling from time to time isn’t that bad – that is until halfway through the song. His notes start to get longer and the problem he appears to have is that it’s too low for his voice. He starts to get shaky and it’s just horrible.

If you don’t like profanity, then it’s not a track for you. The end of the song basically advertises the rest of the album and how it will be nothing but raw tracks for the next 20 minutes before the tuned down voice’s laugh turns into a cough and they tune it up for comedy. I’ll be honest, rap is really not my thing. I’m pretty impartial when it comes to some tracks. Every so often my partner will put on some 90s rap and hip hop and I go along with it or drown it out and ignore it, but more often than not I can appreciate where it comes from. This however I just don’t have anything to gel with. The good elements are just too overpowered by the bad and it’s a shame.

Words: Courtney Solloway

Glen Hansard reveals new video for ‘I’ll Be You, Be Me’


His new album ‘This Wild WIlling’ will also be out April 12th via Anti-Records.

Glen Hansard has revealed the video for lead single ‘I’ll Be You, Be Me’ from ‘This Wild Willing’, his fourth full-length album.

The album is, according to PR, said to ‘Marry the sonic inventiveness of the best of his work in The Frames with the discipline he’s found as a songwriter and lyricist in his solo career.’

In the new video for ‘I’ll Be You, Be Me’, Hansard recruits an assortment of collaborators to feature including James Thiérrée, the grandson of Charlie Chaplin.

Watch video for ‘I’ll Be You, Be Me’ now

Hansard will also be touring between March and May of this year.

Full list of European tour dates:
7th March – Amsterdam, Netherlands – Koninklijk Theater Carré SOLD OUT
8th March – Hamburg, Germany – Elbphilharmonie Hamburg SOLD OUT
9th April – Dublin, Ireland – Vicar Street
10th April – Dublin, Ireland – Vicar Street
12th April – Derry, United Kingdom – St. Columb’s Hall
13th April – Derry, United Kingdom – St. Columb’s Hall SOLD OUT
15th April – London, United Kingdom – Barbican Centre
16th April – London, United Kingdom – Barbican Centre
27th April – Paris, France – Casino de Paris
29th April – Amsterdam, Netherlands – Koninklijk Theater Carré
30th April – Amsterdam, Netherlands – Koninklijk Theater Carré
2nd May – Copenhagen, Denmark – Amager Bio / BETA
4th May – Stockholm, Sweden – Skandiascenen
6th May – Brussels, Belgium – Cirque Royal
8th May – Cologne, Germany – Kőlner Philharmonie
9th May – Frankfurt Am Main, Germany – Alte Oper
11th May – Brno-žabovřesky, Czech Republic – 5th Anniversary of SONO Centrum
13th May – Warszawa, Poland – Palladium
14th May – Warszawa, Poland – Palladium
16th May – Berlin, Germany – Admiralspalast
17th May – Berlin, Germany – Admiralspalast
19th May – Berlin, Germany – Admiralspalast

‘This Wild Willing’ Track Listing:

  1. I’ll Be You, Be Me
  2. Don’t Settle
  3. Fools Game
  4. Race To The Bottom
  5. The Closing Door
  6. Brother’s Keeper
  7. Mary
  8. Threading Water
  9. Weight of the World
  10. Who’s Gonna Be Your Baby Now
  11. Good Life Of Song
  12. Leave A Light

For more information on Glen Hansard, visit:

Website | Facebook | Twitter | Instagram

Pre-order ‘This Wild Wiling’

 Buy tickets for EU tour here

Words by: Megan Duce

Craig Finn announces new solo album ‘I Need A New War’


‘I Need A New War’ is to be released April 26 with Partisan Records.

Partisan Records have announced the release of Craig Finn ’s new album, ‘I Need A New War’ arriving Friday, April 26th.

Finn’s fourth solo LP is the third part of a trilogy after 2015’s Faith in the Future and 2017’s ‘We All Want The Same Things’.

It was recorded throughout 2018 in New York, his home for the last 18 years and the focus of the album.

“Going in, I saw this record as the third part of a trilogy,” says Finn. “Thematically, this was the third group of songs that I had written about smaller moments – people trying to stay afloat in modern times, attempting to find connection, achieving tiny triumphs and frustrating let downs in their day to day lives.”

Perhaps best known as the singer of The Hold Steady, Craig Finn had five critically acclaimed albums with the band, with 2012 seeing his first solo album, ‘Clear Heart Full Eyes’.

Finn will be touring the UK on the following dates:

5 FEB 2019 / UK / Newcastle / Wylam Brewery*
6 FEB 2019 / UK / Edinburgh / The Queen’s Hall*
7 FEB 2019 / UK / Manchester / Albert Hall*
8 FEB 2019 / UK / London / Union Chapel*
9 FEB 2019 / UK / London / Union Chapel*
11 FEB 2019 / NL / Amsterdam / Meerwart*
12 FEB 2019 / BE / Brussels / AB Flex*
13 FEB 2019 / DE / Bochum / Christuskirche*
15 FEB 2019 / DE / Munich / Neue Theaterfabrik*
16 FEB 2019 / CH / Zurich / Dynamo*
17 FEB 2019 / IT / Milan / Santeria Social Club*
19 FEB 2019 / DE / Hamburg / Markthalle*
20 FEB 2019 / DE / Hannover / Capitol*
22 FEB 2019 / UK / Cambridge / The Junction*
23 FEB 2019 / UK / Brighton / St George’s Church*
24 FEB 2019 / UK / Bath / Komedia*
25 FEB 2019 / UK / Cardiff / Tramshed*
26 FEB 2019 / UK / Manchester / Albert Hall*
27 FEB 2019 / IE / Dublin / Academy*
8 MAR 2019 / UK / London / Electric Ballroom / The Weekender^
9 MAR 2019 / UK / London / Electric Ballroom / The Weekender^
10 MAR 2019 / UK / London / Oslo / The Weekender^

* supporting Brian Fallon
^ with The Hold Steady

I Need A New War Tracklisting:

1. Blankets

2. Magic Marker

3. A Bathtub In The Kitchen

4. Indications

5. Grant At Galena

6. Something To Hope For

7. Carmen Isn’t Coming In Today

8. Holyoke

9. Her With The Blues

10. Anne Marie & Shane

Fans can pre-order I Need A New War in physical and digital formats here ( All orders through Finn’s D2C store include a bonus digital EP featuring five b-sides from the album. Other items exclusive to the store include: a one of a kind, signed hardcover lyric book (featuring lyrics to all songs from FITF, WAWTST, INANW and photos by Dan Monick), signed vinyl, an enamel pin set, and more.

Craig Finn: Website | Facebook | Instagram | Twitter

Words by: Megan Duce

Singer Dwight Trible shares cosmic cover of The Beatles’ ‘Tomorrow Never Knows’


Jazz vocalist – Dwight Trible has released his own version of the famous ‘Tomorrow Never Knows’ originally performed by The Beatles.

Bringing his own jazzy yet highly-cosmic twist to the famous psychedelic track, the singer has managed to make it his own, while staying somewhat true to the original song. With lots of improvisation and various instruments joining in throughout the track, it is surely a fascinating take on the song.

The artist has been part of the genre’s music scene for a while. Having forged an impressive career as an inimitable vocalist, activist as the godfather of the LA jazz scene, his version of ‘Tomorrow Never Knows’ is all the more interesting as it is known for having been one of the band’s first songs to deal with LSD so effectively.

Clash Magazine have described Tribe’s first release on Gearbox Records as “a sublime piece of music” and the jazz singer has definitely caught the attention of many Beatles fans with this.

Originally featuring on the band’s album Revolver, the track was made of unusual musical elements such as avant-garde composition and electro-acoustic sound manipulation. It also reminded us of Indian-inspired melodies in the background. It’s no wonder Dwight Trible has let his out-of-space ideas take over in this song, as the original one was already full of various inspirations and ideas.

As we discover Dwight Tribe’s improvisational and fascinating universe a little more, the artist is set to release more material during the year. However, we will have to sit tight and wait for a while, as the dates are yet to be confirmed.

Words by: Lil Bonhomme

Wet Dreams reveal new single ‘Bad Boy’ and accompanying music video



Oslo band Wet Dreams have revealed their new single ‘Bad Boy’ along with a music video to accompany it. Their self-titled debut album has also been announced for March 29th.

NME described their music as ‘Motorhead covering The Hives. And beer, punk, and stir.”

The power-punk group’s songwriter Sebastian Ulstad described the video as being “filmed in the deep forests of our beloved Østfold, Norway, this is the site for a secret festival. Happening every year. If you know, you know.”

‘Bad Boy’ can be listened to via Spotify and Bandcamp and the music video can be found on Youtube.

Words by: Megan Duce

Mozes and the Firstborn announce London and European live dates



Grunge and power pop band Mozes and the Firstborn have released their London and European tour dates ahead of their third album ‘Dadcore’.

Their latest singles ‘Hello’ and ‘If I’ are available now. Their new album ‘Dadcore’ will be released January 25th.

The content of ‘Dadcore’ is embracing the sentiment of rock music being ‘something their dad listens to’ and have explored their favourite styles within the paternal style.

Talking about the album, the group said “Dadcore is a love letter to rock music. It’s an ode to being in a band.”

The record is to be presented as a mix-tape, a collection of eclectic songs that the group have hand chosen.

NPR Music described the group’s music as “like something that might waft out of a California garage in the 1960s…sunny, crunchy, extremely catchy.”

The tour dates are as follows:

27th Jan – Berlin, Lido

28th Jan – Hamburg, Knust

1st March – Frankfurt, Das Bett

2nd March – Osnabrück, Rosenhof

7th March – Amsterdam, Bitterzoet

11th March – Paris, Supersonic

12th March – London, Shacklewell Arms

13th March – Hasselt, Muziekodroom

14th March – Utrecht, EKKO

16th March – Amsterdam, AFAS Live

Tickets for the tour are available to purchase. Singles ‘If I’ and ‘Hello’ are available to listen to as well as the ability to pre-order the new album.

Words by: Megan Duce

Being a successful music photographer: Sarah Louise Bennett’s journey


Her work has been published in major independent music magazines such as Upset, DIY and Dork. She manages to juggle a jam-packed workload as house photographer for O2 Brixton and a part-time job at a pharmacy two days a week. She is Sarah Louise Bennett – a music photographer best known for capturing live shows, festivals and editorial portraits.

I caught up with her to talk all things photography in Workshop Coffee, a favourite spot of her’s just off Regent Street.

Bennett’s love for the art blossomed young, after taking her camera to her first gig when she was 15. “I didn’t really clock it was a thing until I saw a photographer,” she remembers. This was the moment that set her off on a career path that followed her passion. She went on to take a photography A-Level at the Piggott School Sixth Form – her year was the first cohort to study photography at the institute. The college failed on promises to provide certain necessary equipment, however, this encouraged her to pursue photography to degree-level at Nottingham Trent University.

Her university choice was influenced by her upbringing. Bennett grew up in Reading, a stone’s throw away from London. “I knew I wanted to go to a city – that was non-negotiable for me. I needed somewhere where there was music going on,” she explains. Despite being so close to London she was drawn to Nottingham by the vibe of the university and the various different music venues the city has. From the independents like Rock City, The Rescue Rooms and Bodega to the Motorpoint Arena and the Theatre Royal for bigger shows, Bennett knew Nottingham had a diverse and vibrant music scene that would offer a lot of interesting subject matter to photograph.

After graduating, she felt it was necessary to return to London to further her career. “To be honest if you do photography you’ve got to be close to London. There’s a certain amount you can do a bit further out but you’re going to be travelling down a lot,” she says. Bennett moved back to her hometown and started photographing for The O2 Academy Oxford. This, plus shooting various shows in London and portraits for different magazines, was the start of her career in music photography.

“I wouldn’t have thought ten years ago I’d be where I am now,” she admits. Bennett has come a long way from being a frustrated photography graduate trying to get photo passes for shows to now being lucky enough to be picky about what she shoots. Her advice for any aspiring music photographers: “Be patient!”

She also recommends using initiative and being prepared to start small. “Go shoot local shows, message bands on Twitter and Facebook. Start with smaller bands, get a portfolio together and then start contacting publicists, smaller websites and management. “Get shooting and talk to people. It’s terrifying, but talk to people,” she adds.

She may be photographing big bands at major venues these days, but Bennett still gets anxious before a shoot sometimes. She remembers one particularly harrowing experience taking portraits backstage at Wembley Arena for Fall Out Boy (one of her favourite bands).

“I grew up watching their videos and listening to them, I love that band. I borrowed some lights for it and found everything out, and then I missed my train, so I was running late.” Despite this she still arrived at the venue on time but missing the train had set her on edge. “I get panic attacks, I was like ‘stay calm’, I managed to hold it together and get through it,” she says.

While Bennett was setting up the lights Patrick Stump, the lead singer of Fall Out Boy, was being interviewed for a feature. He happened to be talking about getting stage fright before a show and how he was a reluctant front man. “This guy that I’m terrified to meet has the same worries that I do,” Bennett says. Hearing that helped her appreciate that “everyone is just a human being at the end of the day, we all do the same stuff”.

After this experience Bennett’s nerves started to fade a little every shoot. Although she doesn’t get as nervous now, she still feels like she needs to psyche herself up before a portrait shoot. “It’s a lot of extra energy; you have to run a room full of people and hold their attention and keep on the ball. I just pop some tunes on the train and get my head in the zone,” she reveals.

‘The zone’ is somewhere Bennett needs to be pretty often as she’s a self-confessed workaholic; constantly filling her schedule with live shows, portraits, editing and her pharmacy work. Although quite a departure from her photography work, by having a part-time job providing regular income she can pick the work that she chooses to do. “I get enough stuff but it’s not always stuff that makes your heart sing. I didn’t want to kill the love of it [photography, by accepting lots of jobs she dislikes],” she explains.

As well as battling her anxiety, Bennett has also come up against gender equality issues. This is a big thing within the music industry right now as well as wider society. “I feel like it’s very rare that you come across a photo pit full of women,” she points out. Bennett also highlights the (currently) very male-orientated nature of the pop punk scene. “I feel like it is improving but again if you look at the bylines in magazines it does tend to be mostly men at the higher level.”

She went on to explain about a Twitter account, which tweets every week about the percentage of women with major bylines for each publication globally. “It’s really interesting to see what publications are balanced. None are completely but there are some that are getting there. It’s not something you think about otherwise,” she says.

It’s clear that Bennett is passionate about setting a great example for future female photographers. “I think with photography there’s the mentality that young women are going to be fan girls. But there’s nothing wrong with being excited about a band’s music.”

Catch Bennett’s work here in the latest issue of Upset magazine.

Words by Natalie Lloyd-Shaw.