Digital Inspiration Technology Blog How to do Reverse Image Search on your Mobile Phone

Google Reverse Image Search helps you quickly discover visually similar images from around the web. Upload a photograph from your desktop to Google Images and it will show you related images used on other websites and also different sizes of the same photo almost instantly.

Journalists can use the reverse search option to find the original source of an image or to know the approximate date when a picture was first published on the Internet. Photographers can use ‘search by image’ feature to know about other websites that are using their photographs.

Reverse Image Search on Mobile Devices

Google’s ‘search by image’ feature is only available for desktop computers and not on mobile devices and tablets. Thus, if a friend has sent you an image on WhatsApp or Facebook that you’d like to verify, you’ll have to first transfer the photograph to a desktop and then perform a reverse search. Too much work, right?

Reverse Image Search

Not anymore. Meet Reverse Photos, an online tool that lets you perform reverse image searches on mobile phones. Go to reverse.photos on your mobile phone, click the “Upload Image” button and choose an image from the photo gallery of your phone. Next click “Show Matching Images” and it will feed your photo into Google’s image database and show visually similar photos.

Find related images with Google Images on a mobile device.
Find related images with Google Images on a mobile device.

You can either upload pics available your Photo Library, or you can take a new picture with your phone’s camera, or upload existing images from your cloud storage services like iCloud, Google Drive, Dropbox or OneDrive. All inside the comfort of your mobile phone or tablet.

Also see: Find out where a picture was taken

There’s another workaround as well that will let you use the official Google Image Search website for reverse search on a mobile device. Open the Chrome browser on Android and under settings, choose “Request Desktop Site.” Now open images.google.com and you should see the Camera icon to upload an image for searching.

GIITTV: Johanna Glaza – Wind Sculptures (self-released)

Listening to artists from different countries is a bit like trying wine from new places, you never quite know what you are going to get but usually you are pleasantly surprised. That is definitely what could be said about this sparkling debut by Lithuanian born but London-based musician Johanna Glaza.

Wind Sculptures is a compellingly beautiful album and really its only criticism is that it sounds too much like a young Kate Bush. In that sense, the album seems like a stepping stone to somewhere else, the first leap off the edge.

The majority of Wind Sculptures tinkles like crystal in a frosty landscape, bloodied with the drops of red berries and untimely blossoms. The album opens with ‘Space Mermaid’, the lead single. It has the dreamy, surreal lyrics of someone who breathes ether not oxygen, ‘So we can learn to breathe under the snow.’ It is so difficult to avoid the Kate Bush comparison as everything from the sparse piano to the vocal range, sung light as helium, is here. Even the occasional broken delivery enhances the comparison, Glaza pronouncing ‘the’ as ‘thee’. She is ‘floating like a space mermaid in a broken sky’. You get the impression of someone hair permanently aloft as if being followed by a wind machine.

Throughout, the piano tinkles like raindrops. On ‘Wind Sculptures’ it is periodically joined by a tasteful smattering of drums and other instruments. Their accompaniment is so brief it is difficult to even register what they are. Johanna Glaza truly is someone who talks to fairies. This is most evident on ‘In The Shadow’ where the vocal quivers and quavers under a foreboding piano.

‘Million Years’ might as well have been recorded in a Victorian nursery with its Lolita-like vocal. Here ‘Time refuses to obey’. Everything is personified like when everything comes alive and emerges out of the sepia in Bagpuss.

That there is a sense of displacement about Wind Sculptures is probably not a surprise. It is as if Glaza is yearning for somewhere else – or her soul is at least. The album is riddled with imagery of flight and the need for escape. At least two of the tracks sound like birdsong. ‘Desires’ is a short cuckoo call whereas ‘Don’t Fall Don’t Break’, the concluding track, almost has Glaza disappearing into nothingness. She flies high, vanishes, dissolves into the air. And yet for all this, Glaza remains completely corporeal. Whilst nebulous at times, there is no doubting the substance of her talent. Nothing fanciful there.

Glaza is a genuine talent and Wind Sculptures is genuinely very beautiful. What is more exciting is what comes next because the second time is always so much more interesting…

Wind Sculpture is released on 29th September and is a self-release.

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GIITTV: A Blue Flame – When Your Whole World Turns To Dust

Welcome to the glitz and glammer of Hollywood, and boy do we have a special show for you tonight. Who will win the Best Actor Oscar, and what will win the coveted Best Picture? Stay tuned in to find out and….and…say what? We’re NOT in Hollywood? Well where are we then? Leicester? Bloody LEICESTER? And it’s NOT the Academy Awards? It’s actually just a competition to find the best Daniel Lambert lookalike? Oh. Balls.

You would be forgiven for being swept away by the romantic ideals of one Richard Stone upon his latest album’s opening track ‘Back To The Stars‘. If my opening allusions were somewhat extravagant, you could at least compare it to a professional magic show, for it does indeed hold that kind of sophistication – a twinkle in its eye, rather like Dylan‘s recent American standards repertoire, though of course, unlike his Bobness, Stone doesn’t sound like he’s just eaten his smelliest sock. It’s a beautiful way to begin, and this time around, A Blue Flame make a habit of such warm musical embraces.

In some ways, Stone is an East Midlands version of Neil Hannon, all clever wordplay but a whole lot less smug (“but you don’t know where your love’s ending or where it begins / the sound of your heartbeats are filling your head ’til it spins“) on tracks like ‘We Feel Like We Feel‘ and the sweetly scented ‘A Better Way‘. It’s not until we reach track nine that the tempo is cranked up a notch, with the ‘Cor blimey guv’nor’ Libertines-like shuffle of ‘Everything’s A Lie‘ and the resplendent bravado of the impossible-to-forget ‘Empty Head‘, which is as close as we get to a full blown rocker.

On ‘See What Tomorrow Brings‘, Richard sings in a kind of staccato manner that is weirdly reminiscent of Hazel O’Connor on ‘Eighth Day‘, and uses a Hammond organ to quite stunning effect. But then again, I’ve always liked the sound of those buggers. Pretty sure it could even make ‘Agadoo‘ sound good, so let’s not go overboard on that one just yet. Topping the album off we return to the orchestral chamber pop style of Burt Bacharach on ‘Love Will Set You Free‘, which seems to be where this young songwriter truly excels.

Truth be told, I suspect it’s going to be a long time before Richard Stone’s world turns to dust, the likelihood being rather that he lights up each tile he treads on. But unlike the so-called King Of Pop, Stone’s going to light the fuckers up GOLD.

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GIITTV: The Killers – Wonderful Wonderful (Island Records)

Back in 2004 The Killers were riding a wave, propelled into the mainstream on the back of some energetic synth-pop songs that surfed the fault lines between 80s new wave influences(New Order, Duran Duran) and the anthemic singalong popularised in the mid-90s(Shed Seven?). Indeed songs like ‘Mr Brightside‘, ‘Somebody Told Me‘, ‘When We Were Young‘ et al possessed a swaggering self-confidence from Brandon Flowers and co, that despite their lyrical weaknesses allowed their debut album Hot Fuss to be somehow endearing. Since then The Killers have plundered MOR of the 1970s and 1980s with more tedious results, overblown follow up Sam’s Town was a regressive rush towards desperate US stadium rock, while 2008’s Day and Age was a tickbox exercise in style over substance synth-pop references; 2012’s Battle Born was plodding syrupy MOR that yielded even more tedious results. Each record has showcased a band in the midst of writer’s block and revealing themselves to be magpies grasping for anything shiny from their record collections.

It’s perhaps a little surprising – given that Flowers’s 2015 solo album had some choice moments of quality pop music, treating his influences with a playfulness – that back in his day job after seven years, Wonderful, Wonderful is a billowy, vacuous, hideously overproduced long-player that takes itself way too seriously. Indebted to a sound somewhere between the pomp era of U2 and more over the top 80s synth-pop songs, at times it even sounds like a bad Deacon Blue tribute act. Tears for Fears and Talk Talk proved consistently that synth-pop textures could be stretched and manipulated to affecting pop peaks, yet virtually every note here is xeroxed and vacuum packed to within an inch of its life as to become utterly forgettable and even worse riddled with predictable musical and lyrical cliches.

Opener and title track with its ludicrous guitars, clumping percussion, string stings and soaring harmonics, sounds like an off cut from a recent Arcade Fire recording session, and that is not a compliment.’The Rut‘ sounds like a bad U2 b-side from their Joshua Tree era, lost in the desert in search of a meaning. While Brandon claims that lead single ‘The Man‘ is about rebuking the arrogance of his former self, ironically it comes off as just as arrogant, pumped up and smug. The jock strutting, towel snappingly ridiculous chorus line, bounding disco beat, falsetto straddling vocals and posturing lyrics(“I know the score like the back of my hand“) ends up sounding more like a chest-beating assertion of masculinity than a self-aware, critique of himself. While its ‘funky’ production from the erstwhile Erol Alkan is well put together they clearly think its aping towards the work of ‘Fame‘ era Bowie or Peter Gabriel‘s ‘Sledgehammer‘ but ends up sounding as repugnant as Maroon 5‘s pop moments.

“Have a Little Faith in me girl/Dropkick the shame” sings Flower’s hilariously on the pompy choruses of ‘Life to Come’ that mounts up another U2 chorus for an assault on the charts. ‘Run for Cover’ sounds like a homage to Bruce Springsteen‘s most commercial era but lacks his ability to offset the bombast with insight and exhilarating hooks, Flowers recalling the quickfire stream of consciousness singalong style he popularised on ‘Mr Brightside‘; this upbeat synth rocker is stapled with as many clunky, laughable cliches as a Killers lyrical translator could throw up, clumsy Trump references “fake news” mingling with worn out platitudes “I know you’re not the only one/don’t look back you’re not the only one’. With all of its problems, it is an indictment to say that it’s still one of the most memorable songs here. The one quality moment is saved for the affecting ‘Some Kind of Love’ with its tender vocals and more subtle backing of pianos and dabbing basslines, which makes me wonder why they can’t pull it off more often? Yet, the irony of writing a song with a meta title like closer ‘Have All The Songs Been Written?’ with its contemplative AOR balladry, is totally unaware that with this record it sounds like the Killers have already written all of their good ones.

This is an utterly irrelevant long-player, a shiny empty monumemt to the playlists of a retro classics radio station, yet you can just fire up YouTube and instantly listen to the originals anyway. If you were playing drinking game of spot the 80s reference you’d be hammered by the end of this album. This is largely an unnecessary retread shorn of inspiration, that will generate interest merely because of the name on the cover. Less Wonderful Wonderful, and more bland bland, or forgettable forgettable, then.

Wonderful Wonderful is out now on Island Records.

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GIITTV: Video Of The Week #49: Nick Cannon – Stand for What!

Something a bit different for video of the week today, Nick Cannon delivers an incendiary and scathing spoken word piece entitled ‘Stand for What!’ that takes in confederate flags, Robert. E Lee, police brutality, slavery, military death and the black lives matter campaign. It comes in response to President Trump’s negative rhetoric that suggested NFL owners should sack players like Colin Kaepernick who take a knee in protest at injustice, during America’s national anthem. ‘Stand For What’ showcases various images of African Americans being victimized by those in authority, vintage footage of civil rights leaders & more.

Nick Cannon on The National Anthem:  “You want me to stand for a song that continues to remind us of all of the harm that has done us wrong? Stand for what? For your army where none of our sons truly belong?”

Nick continues:  “I can still love my country and hate that fucked up songs about rockets and bombs bursting in air / reminds me of Charlottesville’s vicious glare.”

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GIITTV: PREVIEW: the Melvins’ European tour begins next week

Next Monday in Bristol will see the start of the Melvins 20-date jaunt around the UK, Central Europe and Scandinavia before the doyens of sludge metal and beyond conclude their tour at Electric Brixton in London on Hallowe’en night.

Almost 35 years into their career, the Melvins continue to operate at the outer limits of contemporary music. Support on the tour comes courtesy of Californian kingpins Redd Kross with the Melvins’ Steve McDonald and Dale Crover on “double duty”, performing with both bands across all 20 dates.

Back in July, the Melvins released A Walk With Love & Death, no less than the 25th album of their illustrious recording career. Expect to hear material from this record – their first-ever double album – which showcases two distinct and contrasting sides to the band that formed in Montesano, Washington in 1983. Death is a more ‘conventional’ Melvins’ release, whilst Love is a fourteen-song soundtrack to a short film directed by Jesse Nieminen.

Full tour dates:

MON 09/10/17    Bristol, UK, Exchange
TUE 10/10/17      Leeds, UK, The Brudenell
WED 11/10/17     Glasgow, Scotland, SWG3
THU 12/10/17      Manchester, UK, Gorilla
FRI 13/10/17        Birmingham, UK Birmingham Institute 2
SUN 15/10/17      Antwerp, Belgium, Desertfest
MON 16/10/17     Hamburg, Germany, Logo
TUE 17/10/17       Copenhagen, Denmark, Jazzhouse
WED 18/10/17      Gothenburg, Sweden, Pustervik
THU 19/10/17      Oslo, Norway, Bla
FRI 20/10/17        Malmo, Sweden, Babel
SUN 22/10/17      Berlin, Germany, Festsaal
MON 23/10/17     Leipzig, Germany, UT Connewitz
TUE 24/10/17       Vienna, Austria, Arena
THU 26/10/17      Milan, Live Club
FRI 27/10/17       Zurich, Switzerland, Rote Fabrik
SAT 28/10/17      Schorndorf, Germany, Manufaktur
SUN 29/10/17      Cologne, Germany, Gebaude 9
MON 30/10/17     Amsterdam, Netherlands, Paradiso Noord
TUE 31/10/17      London, UK, Electric Brixton

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