↩ Accueil

Vue lecture

Volvo's New EX60 SUV Features Pre-Installed Apple Music App With Spatial Audio

Volvo's new EX60 mid-size electric SUV is set to be the first Volvo vehicle that comes with an Apple Music app pre-installed, Volvo said today. The vehicle will be equipped with ‌Apple Music‌ with Dolby Atmos, providing an immersive Spatial Audio experience.


‌Apple Music‌ will be available as an app accessible through the vehicle's built-in infotainment system, making it available for those who do not use CarPlay. Using the app requires an ‌Apple Music‌ subscription.

Volvo is equipping the EX60 with its HuginCore system that integrates AI and technology developed by Google, Nvidia, and Qualcomm. Gemini is deeply integrated in the vehicle, allowing the car to be controlled with natural language commands.

While the EX60 has deep Google Gemini integration, it continues to support ‌CarPlay‌. Volvo says that Wireless Apple ‌CarPlay‌ comes standard on the EX60, with users able to connect their iPhone to the car's infotainment system to access Apple apps, music, and navigation.

The EX60 also includes digital key plus, so it can be unlocked and turned on with an ‌iPhone‌ or Apple Watch.

Volvo is selling the EX60 in European markets starting now, and US availability will follow in the spring. Orders will be delivered starting in summer.
This article, "Volvo's New EX60 SUV Features Pre-Installed Apple Music App With Spatial Audio" first appeared on MacRumors.com

Discuss this article in our forums

  •  

‘We played to 8,000 Mexicans who knew every word’: how the Whitest Boy Alive conquered the world

He lit up Europe with bands ranging from Peachfuzz to Kings of Convenience. But it was the Whitest Boy Alive that sent Erlend Øye stratospheric. As they return, the soft-singing, country-hopping sensation looks back

If you were to imagine the recent evolution of music in Europe as a series of scenes from a Where’s Wally?-style puzzle book, one bespectacled, lanky figure would pop up on almost every page. There he is in mid-90s London, handing out flyers for his first band Peachfuzz. Here he is in NME at the dawn of the new millennium, fronting folk duo Kings of Convenience and spearheading the new acoustic movement. There he is strumming his guitar in the vanguard of Norway’s “Bergen wave”. Then he’s off spinning records in Berlin nightclubs during the city’s “poor but sexy” post-millennial years. By the 2010s, he’s driving a renaissance of Italian chamber pop as part of La Comitiva, his bandmates hailing from the southern tip of Sicily.

It’s hard to think of a figure more musically cosmopolitan than Erlend Otre Øye, connecting the dots across a continent where national scenes rarely overlap – and making magic happen. No wonder his debut solo album, with 10 tracks recorded in 10 different cities, was called Unrest. Of all his reincarnations, though, the one that has best endured (if you go by Spotify) is his four-piece, The Whitest Boy Alive. And this spring and summer, they’re reuniting for a tour of Mexico and Europe to celebrate the 20th anniversary of Dreams, their debut album.

Continue reading...

© Photograph: Lee Jin-man/AP

© Photograph: Lee Jin-man/AP

© Photograph: Lee Jin-man/AP

  •  

‘The most dangerous man in America’: how Paul Robeson went from Hollywood to blacklist

The groundbreaking singer, actor and athlete became a victim of McCarthyism and saw his shining career destroyed and his legacy tarnished

In August 1972, the front page of the New York Times arts section published a story titled, Time to Break the Silence on Paul Robeson? The legendary bass-baritone spent the first half of the 20th century as one of the greatest talents the US had ever produced, and its second, both in life and in death as an outcast, the greatest casualty of the second Red Scare period to which today’s current attacks on liberal and progressive politics draw comparison.

This week marks 50 years since Robeson’s death and the silence remains. His erasure from the lineage over the decades shows that what Robeson’s political opponents did not take from him, the years have most certainly. Robeson’s decoupling from the story of African American culture has been so complete that in the half-century since his death, even generations of Black Americans have never heard of him.

Continue reading...

© Photograph: AP

© Photograph: AP

© Photograph: AP

  •  

‘The rise of fascism makes our work even more important’: Montez Press, champions of queer, feminist art

They published a raunchy book inspired by the Guardian’s Owen Jones; broadcast interviews with obscure punk legends; and make calendars to navigate the world of underground art. Now they’re going global

Stuart McKenzie turns towards a fan on a makeshift stage so his long brunette hair blows in the wind. The artist is dressed in a power suit with thick rimmed glasses, flamboyantly smoking a cigarette as he performs the confessional poetry he’s been writing since the 80s. “Stuart is this fantastic London staple who is just coming out of the woodwork now,” says Emily Pope, the director of Montez Press, who hosted the fundraiser where McKenzie performed to support their queer, feminist press and radio.

McKenzie is a typical Montez Press collaborator: an experimental artist who doesn’t fit neatly into either art, literary or music spaces (although he did recently support the indie band Bar Italia). He’s later in his career than some of the emerging artists they collaborate with but he has Montez Press’s “desire to push boundaries and ask questions,” as Anna Clark, one of the organisation’s founding members, puts it.

Continue reading...

© Photograph: Miranda Shutler

© Photograph: Miranda Shutler

© Photograph: Miranda Shutler

  •  

‘Soviet attitudes framed local culture as backward’: the record label standing up to Russian imperialism

Ored Recordings documents chants, laments and displacement songs of the Caucasus threatened by erasure. After the invasion of Ukraine, its ‘punk ethnography’ has never been more urgent

In May 2022, a few weeks after the start of Russia’s full-scale invasion of Ukraine, musician Bulat Khalilov was attending a demonstration in Nalchik, a southern Russian city in the foothills of the Caucasus Mountains. As he joined a group congregating around the monument to the Circassian victims of Russo-Circassian war, Khalilov was approached by a policeman and sensed trouble. To his surprise, the officer asked: “Are you from Ored Recordings? I follow you on Instagram. You’re doing great.”

Their gathering still had to be dispersed, but the enthusiasm that Ored Recordings inspires even among enforcers of the law speaks volumes about the power of what Khalilov and his friend and label co-founder Timur Kodzoko call “punk ethnography”: the recording of religious chants, laments and displacement songs at family gatherings, local festivals, in people’s kitchens, to fight against the erasure of Circassian culture.

Continue reading...

© Photograph: dalia_besht/Daliya Beshto

© Photograph: dalia_besht/Daliya Beshto

© Photograph: dalia_besht/Daliya Beshto

  •  

Miami Beach Nightclub Is Condemned for Playing Kanye West’s Song ‘Heil Hitler’

The club, Vendôme, was hosting several right-wing influencers, including Andrew and Tristan Tate, the brothers who are being investigated in Europe in connection with human trafficking.

© Google Maps

Members of the Tate Brothers entourage were seen giving the Nazi salute at the Vendôme night club in Miami Beach on Saturday.
  •  

Nearly 400 millionaires and billionaires call for higher taxes on super-rich

Mark Ruffalo, Brian Eno and Abigail Disney sign letter timed for WEF in Davos saying wealthy are buying political influence

Nearly 400 millionaires and billionaires from 24 countries are calling on global leaders to increase taxes on the super-rich, amid growing concern that the wealthiest in society are buying political influence.

An open letter, released to coincide with the World Economic Forum in Davos, calls on global leaders attending this week’s conference to close the widening gap between the super-rich and everyone else.

Continue reading...

© Composite: Getty images/The Guardian

© Composite: Getty images/The Guardian

© Composite: Getty images/The Guardian

  •  

UK grassroots music venues show lowest decline since 2018 as sector stabilises post-pandemic

The number of small venues shrank by just nine in 2025, but more than half of them reported making no profit, while employment in the sector dropped almost 22%

The number of grassroots music venues (GMV) in the UK shrank in effect by just nine in 2025, the lowest rate of annual decline since 2018.

Thirty venues closed permanently between July 2024 and 2025 and 48 ceased functioning as GMVs, citing financial viability, change in ownership and eviction or redevelopment. However, 69 spaces that had previously ceased operating as GMVs returned to the sector.

Continue reading...

© Photograph: Dimitris Legakis/Athena Pictures

© Photograph: Dimitris Legakis/Athena Pictures

© Photograph: Dimitris Legakis/Athena Pictures

  •  

New York’s Met Opera announces ‘necessary’ layoffs and pay cuts

‘Cost-cutting’ announcement comes amid uncertainty over deal struck with Saudi Arabia to perform in Riyadh

New York’s Metropolitan Opera has announced a round of layoffs, pay cuts and program reductions as it grapples with financial strain.

The organization cited problems left over from the Covid pandemic, which drastically affected performing arts shows across the US and internationally.

Continue reading...

© Photograph: Ken Howard/AP

© Photograph: Ken Howard/AP

© Photograph: Ken Howard/AP

  •  
❌