Cloth – the Glasgow-based twin-sibling duo of Rachael and Paul Swinton – are back with a new single, ‘Polaroid’. Produced by Ali Chant, it marks the band’s first new music since last year’s Secret Measure. Check it out below.
“We knew that we wanted to push ourselves outside our comfort zone and write a really upbeat, fast track which would feel great to play live,” Rachael said in a press release. “‘Polaroid’ has such a strong, driving beat and a soaring string arrangement from Owen Pallett. We’ve never had strings on our music before so this was a real first for us. I was a little nervous about the idea because I think adding strings can sometimes go one of two ways – they can sound great or they can overpower the nuance of everything going on underneath. I can still remember hearing Owen’s arrangement for the first time and just turning to Paul with the biggest smile on my face – they absolutely nailed it. ‘Polaroid’ is quite different to anything we’ve done before, but I think it’s one of the most exciting songs we’ve made.”
Paul added: “Lyrically, the song deals with the gradual loss of a friendship which used to burn very brightly. I think a lot of people can relate to the peculiar and quietly devastating feeling of becoming isolated from a person they once shared so much with. That preoccupation with loss – of friendships, of loved ones, of relationships – is such a universal thing and something I definitely found myself mired in when writing. I can trace it across a lot of the record.”
Man/Woman/Chainsaw is a London-based group comprising vocalist/guitarist Billy Ward, vocalist/bassist Vera Leppänen, vocalist/keyboardist Emmie-Mae Avery, violinist Clio Harwood, and drummer Lola Cherry. Ward and Leppänen have been playing together since they met in secondary school, enlisting a rotating cast of players and celebrating their 100th gig before even releasing their debut EP, Eazy Peazy, earlier this month on Fat Possum. Following a series of singles beginning with September 2022’s ‘Any Given Sunday’, which introduced the band’s scrappy yet sweepingly chaotic sound, the 6-track collection was recorded with Gilla Band’s Daniel Fox, who’s worked on similarly experimental, post-punky records by Sprints and Silverbacks. With their line-up solidified, Eazy Peazy serves as an exhilarating showcase of a band not only toeing but exalting in the line between cacophonous and epic arrangements: ‘Ode to Clio’ is the perfect summation of their sound and the centerpiece of the EP, which softens and erupts in different directions on each end. As all their musical voices collide, however, you can hardly imagine Man/Woman/Chainsaw’s style converging toward any kind of middle ground; even as their dynamic settles, their ambition is only to keep evolving and ripping it open.
We caught up with Man/Woman/Chainsaw’s Billy Ward, Vera Leppänen, and Lola Cherry for the latest edition of our Artist Spotlight series to talk about their dynamic as a group, making Eazy Peazy, their approach to songwriting, and more.
You released the live performance video at the George Tavern the day Eazy Peazy came out. What was it like to play the EP front-to-back in that context?
Billy Ward: It was fun. It was a really hot day.
Vera Leppänen: It kind of felt like a gig with nobody there. Actually, there were loads of people, a whole team. [laughs] It was really weird. But it was funny to see the George, a venue we know quite well at this point, in a different context. The backdrop that Tom made was really cool, it felt like it tied in nicely with the visuals of the rest of the EP. There was a bit of pressure since it was one take, and it had to be good, but it was really fun. It was super sweaty that day.
BW: We were doing it in one take, but we had to do the show that evening and pack down the whole venue. By the end of the afternoon, it got to a point where we were like, “This is our last shot to do it, so we might as well make it fun.” We were hot and bothered by that point, but I think that added to the energy of it.
I like the unedited aspect of it. There’s a kind of false start before the title track…
VL: Yeah, that starts with a drum roll.
Lola Cherry: That happens more often than you’d think.
VL: I think that’s part of the fun, because when we play a live show, we’re a shitshow very often. [laughs]
LC: I remember counting, like, “1, 2, 3 – oh, sorry, one second!” And then everyone just starts laughing. But it’s fine, it’s fun. If you mess up, no one gives a shit – also no one notices, most of the time. It just makes you seem a bit more human.
How have you noticed the songs changing the more you perform them? Do you see gigs as a chance to show how they’ve evolved after the release?
BW: Actually, the point they change the most is over the first few times we play them, the first few months of playing a song. I think that’s why some of the structures might feel a bit weirder, like ‘Ode to Clio’ being jumbled together because it wasn’t quite working for a while. But once we record the songs, they’re recorded pretty true to the live versions. Recording kind of freezes them in time – you have that document to refer back to. They don’t change much after recording, except that they become tighter live.
LC: Yeah, I hope so. I mean, we were in the room last week, and we were doing completely new stuff. It just felt so easy. Being in a band and trying to do it in a proper way – the expectation is that you’re good at what you do. But I guess we’re still new and figuring each other out. It’s only really started to get easier and easier.
Did it surprise you that it was easier? How exactly did it feel different from before?
LC: I don’t know. It almost feels like we’re working as one rather than making an effort to fit together.
BW: Especially after the shows this summer, I think just by merit of having played so many – we’re just so used to moving as one in the live shows. As a band, we know each other, we respond to each other more naturally now than we have in the past.
If you’re the one introducing a song idea to the group, is there still the same kind of vulnerability as in the beginning? Or is that something you also feel like you’ve developed together?
VL: I feel like it’s less awkward, or “camera shy” is the only way I can put it. I always feel a bit nervous when showing new material – doesn’t matter if it’s to my friends or to the band. But I think it only gets easier; the more you do it, the more comfortable you get.
BW: I always feel really shy. The first time I’m showing a song, I feal really shy, and that’s when you guys always say, “Don’t mumble, just read me the words!”
VL: He’s playing the guitar louder than he’s singing!
BW: I know, I know. When I’m first showing it, I like to hide behind that because I feel self-conscious. Also, it’s good when everyone’s focusing, because all our attention spans are quite short.
LC: We’re like an annoying group of kids, it’s so irritating!
BW: I know! I’ll be showing the band something I’ve been putting together, and someone will be on their phone, like, “Sorry, can you play that again?” And I’m like, “[thumbs up] Oh, cheers.”
LC: [laughs] I actually accidentally recorded a moment like that where everyone was being so annoying.
BW: It’s fine, I know it’ll all come together in the end. Also, if I write stuff that’s good enough, it’ll get someone to look up from their phone.
You played a lot of shows when you were young. Was there a specific show that you went to early on that made you feel like, That’s what I want to do?
LC: For me, it was just most shows. Anytime I saw a show, I was like, “That’s what I want to do.”
BW: When I was younger, before I was even really playing guitar – in 2018, so I was 14 – I saw Shame on their first album tour in Kentish Town. And it blew my mind. I was so impressionable, and they were probably around 19 then. It was all young people everywhere, and the energy was crazy. It was fun, they were cool, and Charlie Steen was hot. That really got me. Obviously, there have been so many shows since that have more actively inspired me in terms of what I’m doing with my guitar or singing. But that show was a big moment for me when I was young.
VL: I don’t know if I have a specific one, either. I think I always knew I wanted to do music-y stuff. For a while, I wasn’t sure if that’s performance, and I’m still not totally sure, but I’m stuck in it now, so whatever. [laughs] I remember being in primary school, and they asked everyone what their dream career was when we were about 11. All the boys said they wanted to be footballers, and I remember I said I wanted to be an author because I was too embarrassed to admit I wanted to be a singer.
LC: That is so sweet.
VL: I grew up around music, so it just seemed like the obvious thing to do.
Were you drawn to the songwriting aspect of it at the time?
VL: I only started writing songs when I was about 12 or 13.
Lola Cherry: That’s not only – that’s quite young!
VL: I’d write songs with my friends or cousins, but I never saw it as…
BW: When I met you, I was really struck by your songwriting, because you really seemed like you really knew how to use words.
VL: Which is so weird because I still don’t know how to do that. I don’t know, I’ve never thought about it.
LC: You’re really good.
BW: I’ve always admired your thing for words, personally.
VL: That’s sweet, y’all. I also thought I was really edgy and interesting when I was 14, reading my Leonard Cohen poetry. Every teenager – teenage girl, especially – feels exactly the same; I think everyone goes through the phase of feeling so “different” from everyone else.
What about the performance side of it?
VL: My mom put me in dance classes and musical theatre classes when I was young, so I think I’ve probably always wanted to do that. But I think rock music is cooler than musical theatre, so.
BW: That’s the quote.
VL: You know what movie came out today? Wicked, and I’m super fucking excited.
BW: Damn, when are you – I wanna go.
LC: Can we do it around Christmas time? When is it on until?
VL: I don’t know, I said I’d go with my housemate.
Is that what it’s like trying to coordinate rehearsals?
VL: Oh my god, it’s ridiculous!
LC: You know what it is a lot? It’s usually Billy asking people in the group chat, and then you can see that everyone’s seen it, but no one replies. But that’s not our dynamic at all.
BW: I know, I know. When we’re in the room, it’s fine. It’s a group chat, I don’t reply if someone’s like, “Hey.”
VL: It is six people that have a band, and many of them have a job or university, or job and university. And it’s like, “Girl, there’s no fucking time for this,” which really is my main priority, but also, I really need to pay my rent.
What was it about this structure – of instruments, but also people – that made you feel like the group had solidified?
BW: Maybe it’s the people, I don’t know.
LC: Before I joined the band, I subbed for the other drummer quite a few times. You guys were playing around a lot with really big lineups, doing the Chainsaw orchestra thing, and then not. I think it was the ‘Any Given Sunday’ single release at the George Tavern – there were a bunch of people there, and that’s where Clio came in, too. I was on bongos, I think. That’s when we were all in the room together for the first time, and it turned out I replaced the drummer.
VL: I think it depends on, yes, the people – and also, when you have a group of 4 to 10 people in a room, it’s the ones that keep coming. Not everyone is going to care about the band or want to be in a band; it’s the people that stay interested that stay in the band.
BW: In terms of arrangement, we always had that core of two guitars, bass, drums, two singers. Adding keys to a rock band feels like a natural expansion, and the violin is like a lead guitarist or a horn player, something that sits over the top.
VL: Also, me, Emmie, and Billy, we’ve been pals the longest. We’ve known Emmie since we were 14. She’s someone we know super well and have played with many times – it’s obvious.
LC: But being in a band together is like a fast track to a very close friendship. We’re around together so often, we’re in tight spaces, and it’s great.
Lola, what was your impression of what Billy and Vera were doing when you joined?
LC: The first time I saw them play was at Dublin Castle in Camden.
VL: You were there?
LC: Yeah, I saw that one. Your stage presence was awesome. I was like, “Oh, these guys are my age but seem very confident.” When I actually joined, a lot of my feelings were more about feeling insecure about my own thing rather than other people, but I just thought they were really talented and cool. I wasn’t used to playing any specific kind of music because I was mostly doing grade stuff and musical theatre for school plays. Probably my style is rock drumming.
VL: Yeah, you’re so loud, bro.
BW: When you first started, it was more like the music you listened to, kind of new soul-y.
LC: Definitely. That was my favorite kind of thing to play, super chill.
VL: You would never know that from you now.
LC: But I remember playing in this really weird punk thing with you and Emmie, and I was trying to keep up. I was sweating so much in that rehearsal room, and I was like, “I actually don’t think I can my hands can go that fast.” But I’ve developed so much since actually being in a band. Playing with people is amazing – it’s the best thing ever. Playing drums by yourself – what’s the point of that? Practicing is great, but you don’t play the drums to play the drums in a room by yourself for the rest of your life.
How do you feel like your dynamic has evolved since, especially in terms of how you work and communicate with each other during rehearsals?
VL: We are just good pals first and foremost. But also, working with friends in a professional setting is kind of weird. In some ways, it makes things harder because it’s easier to goof off and not take things seriously.
LC: We’re laughing all the time.
BW: Arguments can be taken more personally.
VL: But it’s also really positive. I feel more comfortable working with you guys than with any other musical project I’ve ever been in.
LC: I feel like we’re at a level where it’s more than just friendship. Obviously, it’s because we’re working together as well. But we can beef, we can bicker, and it’s fine. We’re able to just get on and just do stuff.
BW: Also, I think now we have a clearer idea of what we want stylistically. Not that genre is super important when we’re writing, but we’re really focused on a project now, and our songs are in one clump of songs. We know the kind of pocket of sound we want instead of everything being a stab in the dark in a different direction. We’re a bit more sure of ourselves with what we’re writing. We’re not entirely throwing shit at all the walls to see what sticks; we’ve figured out what sticks, and we’re kind of continually throwing shit at that wall.
You’ve described that sound as toeing the line between pretty and noisy. How do you feel you’ve learned to make space for those different ends of your sound?
BW: I guess now it’s less a matter of pretty and noisy; it’s more a matter of just arrangement, dynamics, and mood within a song. There will definitely be pretty moments and noisy moments when we’re writing, but it’s about using those contrasts for nuance instead of just being like, “Now we’re gonna go fucking loud, and now we’re gonna go really quiet.”
LC: So, now our loud isn’t just about all of us playing as loud as we can individually. There’s so many of us, it’s such a dense wall of sound anyway, especially when you’re on stage playing to an audience.
BW: Yeah, one synth can be lower than everyone. Like in ‘Ode to Clio’, the loudest part is the drum break between the last two choruses, where it’s just fuzzy bass and drums –that part really jumps out. That’s why a three-piece rock band will sound louder – your ear really picks up on that one thing. If everything is gross, nothing’s gross.
LC: If everything’s loud, nothing’s loud.
As a drummer, Lola, do you feel like you have a different kind of leverage in how or what kind of loud a song is going to be? Your drumming on the title track is a huge part of what makes it so explosive.
LC: In my early days as a drummer, I only knew one dynamic, and that was as loud as I could play. But maybe I hold a bit of pressure on myself, especially when we’re together figuring out songs, to come up with some super original part, which I’ve not let go of a bit. Because you don’t want everything happening at once. ‘The Boss’ is a good example of that: the bit in the verse is not overly complicated, it just paradiddles between cymbals.
BW: It’s actually a really weird drum part. It’s weird for the listener.
LC: Yeah. In the beginning, I remember starting with something really simple, which is usually how I start. And then comes a halftime section, which people are always like, “Wow, your drumming on that bit!” But I’m just playing something super simple, loud and trashy. But because of everything else, it does feel like the drums are really carrying that part of the song, especially with the subs underneath. Doing something that sounds complicated, but actually the core of it is quite simple – that’s fun.
BW: I’m with you on that. I’m trying to write really simple guitar parts, especially if I’m singing. But even in general, no one gives a shit what your hands are doing on a record.
‘Sports Day’ is one of my favorite songs on the EP, and it’s interesting how it’s juxtaposed with the rest of the songs. Billy, as someone who shares lyrical duties in the band, do you think about how your lyrical voice or perspective works alongside Vera’s or Emmie’s?
BW: ‘Sports Day’ is an interesting example because, in my writing now, I’m really trying to match Vera’s thing, or write songs that can contain themselves, enduring outside of the big arrangements. That’s what people respond to: well-written, thought-out lyrics that tell a story, and I like telling a story. I think ‘Sports Day’ does that, but it’s a bit more scattered. When we first started out, I wasn’t a songwriter, and ‘Sports Day’ was one of the first songs that had a clear verse and chorus structure. But also, it was written in a tongue-in-cheek, humorous way.
LC: You’re doing that to protect yourself a little bit.
BW: And actually, it’s quite a vulnerable song about being insecure and those funny adolescent memories of feeling not quite… It’s kind of about queerness and not understanding it quite, really. But for me, the way to do that was to make a slightly silly, blown-out thing. Now, I feel more comfortable in my own skin and more confident in my writing. I can just let my heart sit more plainly on my sleeve.
This interview has been edited and condensed for clarity and length.
Artificial intelligence is transforming the world of photo editing with speed and creativity. From adjusting colors to creating stunning visuals, AI-driven editing tools are simplifying the way we approach photography. At the forefront of this evolution is the Photoleap app by Lightricks Ltd., which is pushing the boundaries of what can be achieved in digital imagery. These advancements mean that photographers and creators can now enhance photos in ways that were not possible before.
As more photographers embrace these cutting-edge tools, the potential for creative expression is limitless. With features that allow for real-time editing and precise adjustments, AI photo editors are not only improving efficiency but also boosting the quality of the final images. These innovations in photo editing apps are opening up new opportunities for both professional and hobby photographers alike.
The Photoleap app stands out for its ability to offer intuitive and impactful photo enhancements. By integrating AI into its core functionalities, it enables users to transform their photos with minimal effort. Through this seamless experience, photographers can explore new creative territories and elevate their visual storytelling. More about the app here: https://www.photoleapapp.com/.
Key Takeaways
AI enhances photo editing with speed and precision
Photoleap offers creative and intuitive editing tools
New opportunities emerge for photographers using AI
Evolution of AI in Photo Editing
I’ve observed significant changes in photo editing, driven by AI innovations. Early milestones have set the stage for modern tools, with companies like Photoleap leading advances. These developments have transformed tools from simple enhancers to complex editing systems.
Historical Milestones and Photoleap’s Impact
In the early stages, AI in photo editing was limited. Basic algorithms could perform tasks like red-eye correction. Over time, AI became more sophisticated, handling intricate processes such as detail enhancement and facial recognition.
Photoleap has played a key role in this evolution. Their tools integrate machine learning for precise edits. By adopting AI, Photoleap has reduced the time needed for complex editing tasks and has set a standard for other software. Their impact is seen in how seamlessly AI tools for photo editing now work. Images are enhanced with a level of detail and precision that was previously unattainable.
Current Landscape of AI Photo Editing Tools
Today, AI photo editing tools offer far more than simple tweaks. Automatic adjustments in exposure and color balance are now standard. These tools help in refining images effortlessly, enabling even beginners to achieve professional results.
One popular tool is the AI photo enhancer. It uses machine learning to adjust photos automatically, optimizing for clarity and vibrancy. Image enhancement tools are tailored for different styles, allowing for creative expression. Photoleap continues to innovate, focusing on user-friendly interfaces and adaptable solutions that meet a wide range of editing needs.
Enhancing Imagery
Enhancing imagery through AI offers powerful tools and features that improve photo quality and expand creative possibilities. From generating and extending images to specialized enhancement options, these technologies streamline the editing process and unlock new levels of artistic expression.
AI Image Generators and Extenders
In my exploration of AI image generators, I discovered that these tools create stunning visuals from scratch. They can produce realistic or imaginative images using advanced algorithms. A great application is the AI art generator, which transforms simple ideas into detailed art pieces.
AI image extenders are equally transformative. They can extend an existing image seamlessly, adding more context or enhancing its composition. This helps in creating more engaging content without losing the original vibe. AI background generators also play a key role, allowing me to change the scene or mood effortlessly.
AI-Driven Enhancement Features
AI-driven enhancement tools include background removers and colorizers, streamlining editing tasks. With these, I can alter colors, improve lighting, or even remove unwanted elements from photos with impressive precision. An AI headshot generator is perfect for creating polished portraits quickly.
Transformative features like AI photo-to-painting converters and AI photo-to-cartoon tools offer creative ways to reimagine photos. These allow for playful or artistic expressions that capture the essence of the original image while providing a new twist. These enhancements make photo editing accessible and fun, even for those with minimal technical skills.
Creative Conversions and Effects
In 2025, creative conversions and effects are transforming photo editing with innovative uses of AI. These advancements include converting text into images and adding dynamic visual effects to photographs.
Text to Image and Creative Generators
As someone who often explores new tools, I’ve found that text-to-image conversion is changing how we create visuals. AI painting generators can take a few words and produce stunning, unique images. This is particularly useful for generating AI avatars and detailed landscapes.
One of my favorite tools is the AI pet portrait generator. It turns simple descriptions into charming portraits, making it appealing for pet owners. The integration of text-based prompts with powerful AI allows for endless creativity, offering users an array of options, from abstract art to precise illustrations.
The Motionleap integration also stands out. It can bring static designs to life, enhancing creative projects by adding movement. These technologies democratize artistic expression, enabling anyone to visualize ideas without needing advanced skills.
Visual Effects for Dynamic Photos
Adding visual effects to photos has never been simpler or more effective. I often use tools that offer QuickArt effects, which apply intricate styles to images in seconds. These effects include filters that adjust tones or add artistic layers effortlessly.
Photo filters and effects enhance images with artistic flair or subtle changes. The availability of effects such as double exposure techniques allows me to blend photos with creativity and depth. It produces unique results by layering distinct elements into a cohesive picture.
The ability to animate photos is another key trend, breathing life into still images and giving them motion and energy. By using these tools, photographers and hobbyists can make images more engaging and visually appealing.
Practical Applications
AI-driven photo editing tools are transforming how we create and enhance images. From specialized tools for specific needs to integrations in everyday life and various industries, these technologies are becoming essential for both personal and professional use.
Specialized AI Tools for Different Needs
Specialized AI tools cater to various creative tasks. For instance, AI mugshot makers offer precise face edits suitable for professional use, enabling subtle yet significant improvements in portraits. I find them particularly useful for applications requiring uniformity.
For those venturing into more creative domains, AI tattoo generators and AI selfie generators provide a space where imagination meets technology. Tattoo artists and enthusiasts can design intricate patterns without starting from scratch, while playful selfies gain new levels of creativity.
Interior design also benefits significantly from AI tools. AI interior design tools offer real-time previews of space arrangements, helping users visualize changes before committing. These tools make it possible for anyone to experiment with styles and concepts previously out of reach.
Integration in Everyday Life and Industries
Incorporating AI into daily routines and industries enhances productivity and creativity. Professionals in fields like marketing benefit from rapid content generation, with AI tools like photo collage makers producing visually appealing materials faster and more efficiently.
AI interior design extends beyond personal home projects, impacting real estate and retail. By simulating different setups or store layouts, businesses can refine spaces to maximize customer engagement and comfort. I see it bridging the gap between digital previews and real-world implementations.
These applications not only streamline workflows but also open up new opportunities for innovation across various sectors. As AI continues to evolve, its ability to seamlessly integrate into diverse aspects of life will likely expand, bringing both efficiency and creativity to new heights.
Future Perspectives
In 2025, AI is set to transform photo editing, with new technologies enhancing capabilities and creating smoother user experiences. These advancements will penetrate the tools we use, leading to significant changes in how we interact with photo editing software.
Emerging Technologies in AI Photo Editing
There are several exciting technologies on the horizon in AI photo editing. Real-time AI editing is one notable development, allowing edits to be made quickly without losing quality. This promises to save time for professionals and hobbyists alike.
Deep learning will also advance, providing smarter tools that can understand and process images more like a human eye. This will assist in creating more realistic effects and adjustments. Another breakthrough is AI-powered culling, which helps in sorting through large photo libraries efficiently.
Furthermore, improved image recognition will help catalog and organize photos easily, reducing time spent on manual tasks. These tools will make photo editing more intuitive and accessible for everyone.
Predictions for User Experience Transformations
The integration of AI tools in photo editing promises significant changes in user experiences. As these technologies evolve, interfaces will become more user-friendly, with many tasks automated to improve efficiency.
For example, automated adjustments will help users achieve professional results with minimal effort. The software will offer suggestions or make automatic changes, learning from previous edits to match personal styles.
Customizable AI assistants could provide real-time feedback, enhancing creativity and workflow. By predicting user needs, they can adapt to different editing scenarios, making the process more satisfying and less time-consuming.
These AI-driven transformations will likely make photo editing more accessible to a broader audience, inviting more creativity and exploration.
Frequently Asked Questions
In 2025, AI-driven photo editing tools like Photoleap offer users advanced features that enhance creative workflows. I’ll provide insights into how these tools stack up against alternatives, their potential to revolutionize the industry, and their role in shaping AI art.
What new features does Photoleap offer in its 2025 AI-driven photo editing tools?
Photoleap’s 2025 edition includes real-time editing capabilities and enhanced automation. These innovations allow users to perform intricate edits like object removal and light adjustment with ease. The software’s intuitive interface makes advanced features accessible to both amateur and professional photographers.
How does Adobe Firefly compare with other AI photo editing software in 2025?
Adobe Firefly stands out with its seamless integration of AI features in tools like Photoshop. This gives it an edge in terms of precision and customization. While other software offers great automation, Adobe Firefly is highly regarded for its generative fill and ability to adapt to user needs.
Are there any free AI-driven photo editing tools that compete with Photoleap’s features?
There are free tools available, such as Pixlr, that offer impressive capabilities. Although they may not match the full depth of Photoleap’s premium features, these free options still provide useful edits and are perfect for users with basic editing needs.
What AI advancements are expected to revolutionize photo editing by 2025?
By 2025, advancements like real-time AI processing will reshape photo editing. Enhanced algorithm efficiency will streamline complex tasks, making it easier to perform detailed edits quickly. The technology will also enable more sophisticated image enhancements, allowing for a new level of creative expression.
How has Photoleap influenced the development of AI art in photo editing?
Photoleap has pioneered AI art in photo editing by incorporating tools that allow users to transform photos into art-like visuals. Its technology promotes creativity by providing a platform for blending traditional photo editing with AI-generated enhancements, influencing the way artists approach digital art.
Can AI photo editing tools like Photoleap replace professional photo editors?
While AI tools greatly assist in the editing process, they do not fully replace the unique touch of a professional editor. Photoleap enhances workflows and enables rapid edits, but the artistry and decision-making skills of professionals remain irreplaceable in achieving personalized and high-quality outcomes.
Skin.Club continues to attract new users and whet the interest of more experienced players through exclusive events. CS2 pickems are becoming more and more popular among CS2 fans and thus the Skin.Club continues to maintain interest in the culture of skins.
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Shanghai Major pickems are definitely worth attention, as this is them that unite players, motivate them to go beyond their comfort zone, and be a part of fair competition. And the opportunity to earn points and medals and advance through tiers only adds to their motivation. This is healthy competition that brings only advantages and cool experiences, so if you are a CS2 fan, you should certainly give it a try!
Skin.Club is a real treasure for connoisseurs of CS2 skins, and at the same time, this is what brings the players together in the most gripping way. This is the platform where you will get the CS2 skins of your dreams and enjoy unforgettable events. Hurry up to become a part of the upcoming CS2 pick em and don’t miss your chance to get an amazing skin!
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Casino bonuses are like the candy bars of gambling—super tempting, packed with a little extra thrill, and designed to keep you coming back for more. Whether you’re new to the casino scene or a seasoned player chasing the next big win, these bonuses can feel like free money. But, just like candy bars, they’re not always as sweet as they seem. Let’s break it down so you can decide if they’re worth it.
Why Casino Bonuses Are Awesome
Betting expert and author Matti Laurila shares that bonuses work by giving extra money to players. Yet, not all online betting sites offer the same bonuses. In fact, in this list, Laurila has outlined the best sites based on the unique bonuses that they offer.
Bonuses exist to get players excited, and let’s be honest—they work. When used right, they’re a great way to stretch your money, explore new games, and maybe even snag a win. Here’s why people love them:
You Get More for Your Money: The classic 100% deposit match means you double your bankroll right off the bat. For example, you put in $50, and boom—you have $100 to play with. Who wouldn’t love that?
Free Spins and Free Bets: These little extras let you try out games without risking your cash. It’s a win-win—you get to explore, and if you’re lucky, you might walk away with real money.
Test-Driving New Casinos: Bonuses make trying out a new casino way less risky. With extra funds, you can figure out if the site feels right for you without spending too much.
Loyalty Rewards: If you’re a regular, casinos often throw in cashback deals, reload bonuses, or VIP perks. It’s their way of saying thanks—and keeping you around, of course.
Extended Playtime: Casino bonuses mean you can play for longer without dipping further into your wallet. This makes them perfect for casual players who want to get the most entertainment for their money.
The Not-So-Fun Stuff About Bonuses
Here’s the deal—bonuses might look like free money, but there’s always a catch. Casinos don’t hand out freebies without some rules attached. These are the downsides you need to know:
Wagering Requirements: The big one. Most bonuses come with strings attached, like having to wager 20x or more before you can cash out. That $100 bonus could mean you need to bet $2,000 before seeing a dime.
Game Restrictions: Think you can use your bonus on any game? Not so fast. Some bonuses are locked to specific games, like certain slots, and may not apply to table games like blackjack.
Caps on Winnings: Even if you hit it big with a bonus, some casinos limit how much you can cash out. So, that jackpot might look good, but you might only get a fraction of it.
Time Limits: Bonuses don’t last forever. Many come with deadlines, so if you don’t meet the requirements fast enough, you lose the bonus and any winnings.
Where Players Slip Up
Aside from the fine print, there are other ways bonuses can trip you up. One common problem? Sticky bonuses. These are the ones you can’t withdraw, no matter how much you win. You only get to cash out what you make from the bonus, not the bonus itself.
Another pitfall is assuming all games help you meet wagering requirements equally. Slots often count 100%, but table games might only count 10% or less. If you’re a blackjack fan, hitting those requirements will take way longer.
Then there’s bonus chasing—jumping from one casino to another just to grab offers. It sounds smart, but it can get messy. You might spread your hard-earned money too thin, forget about wagering requirements, and miss out on actually enjoying the games.
Another thing to watch out for is overcommitting to meet wagering requirements. Some players end up spending more money than they initially planned just to clear a bonus. It’s important to set limits for yourself and remember that gambling should be fun, not stressful.
How to Make Bonuses Work for You
Bonuses don’t have to be a trap if you know how to handle them. The first rule? Always read the fine print. Look for bonuses with reasonable wagering requirements—20x or less is manageable. And check what games are eligible, so you don’t end up stuck playing something you don’t enjoy.
If you’re a casual player, smaller no-deposit bonuses can be a fun way to try a site. For bigger spenders, those massive deposit matches might be more your thing. It’s all about finding what fits your style.
An important tip is to always set a gaming budget, just like you set budgets for other areas of life, and stick to your plan. Use bonuses and promotions to your advantage and let them help you stretch your gaming budget.
Understanding Bonus Clauses
A lot of players get blindsided by some of the fine print hidden in bonus terms. These clauses can make or break how useful a bonus really is, so knowing what to look for is key. For starters, always check if a bonus is “non-sticky” or “sticky.” Non-sticky bonuses are way better since you can withdraw your cash anytime if you don’t touch the bonus funds. Sticky bonuses, on the other hand, lock your deposit and bonus together until you meet the wagering requirements.
Another clause to watch for is the “max bet” rule. Many casinos limit how much you can bet per round while playing with a bonus. If you go over this amount, even by accident, your winnings could get voided. It’s sneaky, but it happens.
When you understand how bonuses work, you can use them to your advantage. Extra funds can go a long way to stretch your bankroll and enhance gameplay once you read the fine print and know how the promotions work. Players should look out for unique and special welcome bonuses when they visit a new site for the first time. If a player has a favorite site that they repeatedly visit and wager on, they should check and see what loyalty programs and offers are available. After carefully reviewing the bonus offer details, take advantage of any that meet your requirements and enjoy the benefits that bonuses can bring.
Ahead of this year’s Grammys, Lana Del Rey teased a country album called Lasso. Now, she’s announced that her upcoming project is titled The Right Person Will Stay, and it’s set for release on May 21.
“so grateful that my 13 tracks came together with my beautiful work between Luke Jack and Drew Erickson amongst others,” Del Rey wrote on Instagram. “Happy for you to hear a few songs coming up before Stagecoach 🚴 🧣 starting with Henry.” She’s been teasing the song in question, ‘Henry, Come On’, since January. The collaborators she tagged include country producer Luke Laird and longtime collaborators Jack Antonoff and Drew Erickson.
Del Rey initially suggested that Lasso would arrive in September, but later explained, “I don’t want to turn it into something that’s half cooked, even if it’s super stripped-back. I want it to be what it was supposed to be.” Her most recent studio album, Did You Know That There’s a Tunnel Under Ocean Blvd, was released in March 2023.
Drake has initiated legal action against Universal Music Group (UMG) and Spotify, alleging that the two companies conspired to “illegally” boost streams of Kendrick Lamar’s ‘Not Like Us’. In a filing made in Manhattan court by Drake’s Frozen Moments LLC, the company accuses UMG of using bots, undisclosed payments, and biased recommendations to inflate the song’s popularity.
“UMG did not rely on chance, or even ordinary business practices,” attorneys for Drake’s company wrote. “It instead launched a campaign to manipulate and saturate the streaming services and airwaves.”
In their “pre-action” petition, Drake’s attorneys claim that UMG violated the Racketeer Influenced and Corrupt Organizations Act (RICO), engaged in deceptive pay-to-play practices, and used false advertising under New York state law. They are seeking extensive documentation from UMG and Spotify, including proof of payment or reduced licensing fees exchanged for promoting ‘Not Like Us’. They allege that UMG charged Spotify lower licensing rates in exchange for the platform recommending the song to users who had searched for “unrelated songs and artists,” paid influencers to boost the song on social media, and hired teams of bots to increase the numbers.
There’s also a claim that UMG paid Apple Inc. to have Siri “purposely misdirect” Siri users to ‘Not Like Us’ when they requested Drake’s album Certified Lover Boy. “Online sources reported that when users asked Siri to play the album ‘Certified Lover Boy’ by [Drake], Siri instead played ‘Not Like Us,’ which contains the lyric ‘certified pedophile,’ an allegation against Drake,” the rapper’s lawyers wrote.
“UMG’s schemes … were motivated, at least in part, by the desire of executives at Interscope to maximize their own profits,” Drake’s attorneys wrote. “Executives at Interscope have been incentivized to maximize the financial success of Interscope through the promotion of ‘Not Like Us’ and its revitalizing impact on the artist’s prior recording catalog.”
“Drake has repeatedly sought to engage UMG in discussions to resolve the ongoing harm he has suffered as a result of UMG’s actions,” the filing continues. “UMG refused to engage in negotiations, and insisted that UMG is not responsible for its own actions.”
A Universal Music Group spokesperson denied Drake’s allegations in a statement, writing: “The suggestion that UMG would do anything to undermine any of its artists is offensive and untrue. We employ the highest ethical practices in our marketing and promotional campaigns. No amount of contrived and absurd legal arguments in this pre-action submission can mask the fact that fans choose the music they want to hear.”
This past Friday, Lamar surprise released a new album called GNX.
Kendrick Lamar has shared the music video for his GNX track ‘squabble up’, which we just named our Song of the Week. The rapper previewed the track in the ‘Not Like Us’ video, and the new clip, directed by Calmatic, finds him reading a book called How to Be Like Kendrick for Dummies and holding a sign that reads “Jesus Saves Gangsters Too.” Watch it below.
Lamar surprise-released GNX on Friday, November 22. The follow-up to 2022’s Mr. Morale & the Big Steppers features contributions from Sounwave, Jack Antonoff, Mustard, Kamasi Washington, SZA, and more.
An online casino won’t survive without a big customer base. It needs to attract and retain customers, because the more people that play, the higher the profit margins for the operator are going to be.
The main marketing tool available to operators is bonus offers. Take any platform from the top 50 online casinos list, and you’ll notice that nearly every one of them has a welcome bonus. These initial incentives are crafted to lure in new customers and are among the most popular offers because they generally provide a greater value compared to those for existing users.
That’s a perfect example that bonuses are not created equal, and behind the scenes there are costs involved for the casino running them. But are some more expensive to run than others?
No Deposit Bonus
No deposit bonuses for new customers don’t require the player to make a payment. Just for registering an account, the operator will credit a certain amount of free play tokens. That’s usually a small amount, but even at a €10 bonus, that assumes plenty of risk for a casino’s budget.
This type of offer has the potential of a high player uptake, because it gives players something for free. Part of the risk from the casino operator is that players could take advantage of the deal, by using the free bonus without ever having the intention of depositing their own money and playing afterwards.
Casinos bank on players sticking around and gambling after any initial bonus, where they can rake back the value given up and more. No deposit bonuses are not as easy to find at online casinos as their bigger, more popular brother, the matched deposit bonus.
Matched Deposit Bonuses
A matched deposit is where the casino credits a bonus once a new player has made their initial deposit on an account. This varies from platform to platform and can be anything from a 50% bonus up to something like a 200% matched bonus or beyond.
These are very different to no deposit bonuses, because to get anything out of them, the player has to first play with their own money. If a player receives €100 worth of free play, then they will have to gamble it X-amount of times before the bonus value will be released. This format eliminates a lot of risk for casino platforms.
The high volume of real money gambling that needs to be done (which can be anything from 25x to 40x and upwards), ensures that the casino has an edge because the risk is all with the bettor.
A €100 bonus for example at 30x requires the player to have an outlay of €3,000 just to get that €100 bonus in the long term. Because of the house edge on all casino games, the operator will bank from that €30,000 worth of play and more than cover the €100 bonus value.
Loyalty and VIP Programs
Ongoing rewards that consistent players can get credited with, can be highly effective tools for casinos in their bid to retain players, especially those who are high-value gamblers. But to run these programs, casinos have to absorb some expense.
VIP rewards include different tiers offering better and better rewards like cashback, quicker withdrawals and exclusive entries to events. Tailored incentives such as account managers are only going to be applied to super high-rollers who are putting a lot of money into the casino. That allows for things like labour costs and the value of other high-end incentives to be accounted for.
This is why things are tiered in loyalty programs, because giving a few free spins for someone wagering €50 in a month, is little cost-risk for the casino. But someone’s gambling input at that level would never cover the cost of a personal account manager. Casinos balance this input/output with tiers, but because loyalty rewards are only earned from deposits and gambling, they have already covered the costs.
Free Spins
Free spins are common at online casinos and carry some expense for operators. Free spins usually come with something like a 0.10 value, and winnings from them are capped quite low.
Winning at slots is notoriously difficult, so this is a low-cost bonus for casinos to run. Players can win from free spins, but much of that will be absorbed because players are likely going to gamble on beyond a handful of free spins.
Casinos in Control
The casino is in control and aren’t just going to let expenses flood out of their business through bonus offers. The terms and conditions of these promotional bonuses put the ball in the casino’s court by utilising things like maximum win amount and wagering requirements.
