Following multiple recent public outcries regarding sexual assault, including the acclaimed and widely publicised performance art piece by Emma Sulkowicz (‘Mattress Performance (Carry That Weight)’), Lady Gaga has added another voice to the already very raucous discussion regarding sexual assault legislation in New York. Co-authoring an opinion piece with Governor of New York Andrew Cuomo, she pushes for legislation to further prevent instances of sexual assault on New York college campuses. An absolute powerhouse artist that needs no introduction, Lady Gaga has spoken out in the past about issues of social activism – including the notorious oration outside the White House in support of LGBTQIA rights – but her stance in this essay, urging the passing of Governor Cuomo’s ‘Enough Is Enough’ Bill is a personal one, having spoken about her own experience of sexual assault as a young adolescent and her having taken inspiration from these experiences for her ARTPOP track ‘Swine’.

With only a little over a week left for Cuomo to actually enact this ‘Enough is Enough’ legislation, his choice of an ally in Lady Gaga may come as a surprise to some, although hardly an uninformed choice. Lady Gaga spouts some powerful words on the subject, emphasising that sexual assault “victims are not only deprived justice, they are denied the opportunity to tell their stories publicly”. Denouncing the current futility of sexual assault legislation as “unacceptable” and “heartbreaking”, she stands in strong support of the bill, which “will tackle this crisis head-on”. But we can hardly do her essay (which is equal parts moving and incisive) justice, so read the full text below for yourself:

“Every fall, young men and women head off to colleges across the country, dreaming of bright futures and the experience of a lifetime. They’ve worked hard for the chance to become a part of their new campuses, and they set out full of hope and excitement. 

Unfortunately, for thousands of these students that dream turns into a nightmare because of the unacceptable epidemic of sexual violence that is currently plaguing colleges and universities. It is a shocking reality that many in academia, government, and society in general still refuse to acknowledge. 

We all have a responsibility to make sure that the strongest possible laws are in place to safeguard our students. Thankfully, New York has an opportunity to stand up for its students and take the critical steps toward facing this crisis head on. The bill currently before the New York State legislature will address the issue of sexual violence on college campuses, giving the state the nation’s strongest laws to target campus sexual assault. This is a campaign that will protect students, and it’s exactly what we need. 

Today, too many college students experience sexual assault, too few of the assailants are prosecuted, and too often the survivors lack the resources they need to recover. In New York, fewer than five percent of rapes that occur on college campuses are reported to law enforcement and just 16 percent of survivors receive support from a victim services agency. 

Making a bad situation worse, college officials sometimes fear negative publicity against their school if assaults are reported to the police. Instead of involving law enforcement, these cases are often handled as campus disciplinary issues and many offenders avoid meaningful consequences. A 2010 investigation by the Center for Public Integrity found that just a quarter of the individuals responsible for sexual assault were permanently removed from campus – and in some cases, that figure was as low as 10 percent. 

As a result, these victims are not only deprived justice, they are denied the opportunity to tell their stories publicly. Being able to speak about such difficult experiences openly is fundamental to easing a survivor’s recovery and to removing the shame that still shrouds sexual assault.    

This situation is unacceptable. The likelihood that college students are not getting the assistance and support they deserve is heartbreaking, and the knowledge that sexual predators are left free to attack again is criminal. This bill will tackle this crisis head-on, because the status quo needs to change. 

Sexual assaults are not just violations of local campus rules – they are crimes that must be treated as such. Victims must know that they have the right to call the police, and they must be supported in their recovery, regardless of whether that could mean negative publicity for their school. 

Last year, the Governor’s office asked the state’s public university system to step up on this issue.  They did. Now, every public college student in New York is protected by a strong policy against sexual assault. But without changing New York’s laws, private colleges don’t have to live up to the same standard. That’s why the state legislature must pass the proposed bill. Without it, students at private institutions are more likely to be left at risk. 

We have a responsibility to the young men and women of this country to stand up against sexual violence everywhere. Everyone – from lawmakers and educators to advocates like Born This Way Foundation and the students themselves – need to join forces on this issue. Together, we must create the scaffolding necessary to foster the mental, emotional, and physical health of all young people. 

By passing legislation such as the bill currently before the New York State legislature, we can turn the tide on this issue so that students can realize their dreams on campuses that are safe spaces. That’s why we are joining together to take a stand against sexual assault on college campuses. Quite simply, enough is enough.”

Following in the footsteps of Spotify, Pandora, Tidal and more, Apple has launched the long-awaited Apple Music. The announcement was made at its annual Worldwide Developers Conference, and shows to be an ambitious program that meshes streaming service, social network and a 24-hour radio station. In an already crowded market, Apple’s billion-dollar partnership with Beats Music aims to integrate the streaming needs of users which Beats co-founder Jimmy Iovine describes as currently a “fragmented mess.”

“I reached to Tim Cook and Eddy Cue and said…’Can we build a bigger and better ecosystem with the elegance and simplicity that only Apple can do?”

wwdc-2015-jimmy-iovine

The launch featured stellar celeb cameos from Drake and Zane Lowe – impressive, but a tad more subtle than Tidal’s celebrity-studded heave. Apple Music, according to the Guardian and industry experts, is predicted to overtake already popular streaming services. “Can Apple beat Spotify? Yes, it can, not because its service will be any better but because it can build its new music service into the hundreds of millions of devices that its loyal Apple users already love,” says Forrester analyst James McQuivey.

“This is something that simplifies everything for the modern musician like myself, and the modern consumer like you,” proclaimed Drake, high-fiving Apple CEO Tim Cook. Apple Music will also incorporate a 24-hour, “global” radio station catered to nearly all time zones around the world, headed by BBC Radio 1’s radio megamind Zane Lowe; as well as a social network of sorts dubbed Connect, a platform for artists to post updates, videos, photos, and music for fans.

Trent Reznor of Nine Inch Nails has also stepped in as consultant for Apple Music, promising a “complete experience by combining the catalogue of the world’s music…directly from the artist to you.”

Apple Music is set to be launched on June 30 at a likely price point of $11.99 per month with a three-month trial period (similar to competitor Spotify’s pricing model), with the option of family pricing for $14.99 a month.

Will you try it out?

Boasting two recent hits Breakthrough and When a Man’s a Fool, Harts’ new EP, also titled Breakthrough, is a worthy follow-up to his debut Daydreamer. It’s a unique blend of 70s rock and Motown funk that the one-man producer, vocalist and songwriter Darren Harts has practically perfected to a tee. Having been wholly embraced by Triple J, the extensive radio play and unique interpretation on past musical stylings are no doubt pushing Harts to the ‘Breakthrough’ he deserves!

“I need another breakthrough,” wails Harts on the opening track – and this EP is exactly that, affirming his status as one of Australia’s most successful new musicians, after a 2014 that saw him play with the one and only Prince at his Paisley Park Studios. The title track is perhaps the most groovy on the EP, with steady drums underscoring a warped guitar and vocal production reminiscent of The Black Keys… on crack. The EP only builds from there, peaking at Streets – loud, unabashed, and headbang-inducing. Yet Harts displays incredible restraint on the last few tracks, diminuendoing to barely a murmur on Ain’t Too Far Gone, as his voice rings raw over laid back instrumentals with only momentary glimpses of the stadium fillers earlier in the EP. This versatility is refreshing, and Harts’ falsetto on this last track is one of the highlights on the record.

Breakthrough is out now.

Tour dates

Friday 5th June: CATS @ Rocket Bar, Adelaide SA
Tickets on Door

Saturday 6th June: Karova Lounge, Ballarat VIC
Tickets here

Sunday 7th June: The Loft, Warrnambool VIC
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Friday 12th June: Amplifier, Perth WA
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Saturday 13th June: Settlers Tavern, Margaret River WA
FREE Entry

Sunday 14th June: The Newport Hotel, Fremantle WA
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Friday 19th June: Republic Bar, Hobart TAS
Tickets here

Saturday 20th June: Ding Dong Lounge, Melbourne VIC
Tickets here

Thursday 25th June: Moonshine, Manly NSW
FREE Entry

Friday 26th June: The Cambridge, Newcastle NSW
Tickets here

Saturday 27th June: Ding Dong Lounge, Melbourne VIC
SOLD OUT

Friday 3rd July: Oxford Art Factory, Sydney NSW
Tickets here

Saturday 4th July: Transit Bar, Canberra ACT
Tickets here

Thursday 9th July: The Gapview Hotel, Alice Springs NT
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Friday 10th July: The Foundry, Brisbane QLD
Tickets here

Saturday 11th July: The Great Northern, Byron Bay NSW
FREE Entry

Sunday 12th July: Broadbeach Tavern, Gold Coast QLD
FREE Entry

Friday 17th July: Cassette, Auckland NZ

Saturday 18th July: Meow, Wellington NZ

British band Foals’ hew album will be a “more extreme” affair, according to lead singer Yannis Phillippakis. We’re yet to hear music from the upcoming album, a follow-up to 2013’s acclaimed Holy Fire (which brought us the groovy My Number,) but the singer revealed a few things in a recent interview with Q Magazine; “We felt that the spread on Holy Fire was good but on this we wanted to push it out even further, so the extremes were further apart. The heavier songs are heavier, the poppy songs are poppier and weirder.”

Guitarist Jimmy Smith went on to speak about their time working in the south of France, with producer James Ford. “We drank about 130 bottles of this red wine called Ardèche,” he says, “[but] I don’t think there was a point where we were all drunk.”

Last October, the band posted a photo on Instagram of a guitar and keyboard with the caption “It starts…”. Now, almost eight months and 91 litres of wine later, they’re finally closer to completing the album.

While Holy Fire saw the band travel to a slew of remote and “ludicrous” recording locations including Gothenburg, Sweden, the new material has been recorded in the safety of their London studios.

Foals last visited Australia almost a year ago, in a last-minute headlining slot at Splendour In The Grass (filling in for late cancellation Two Door Cinema Club.) They’re set for a lineup of European festival gigs later this year, where they’ll no doubt be previewing tracks from their upcoming album.

 

 

Headlining Splendour in the Grass 2015, international artist and producer wunderkind Mark Ronson has enlisted a stellar crew of guest artists on his upcoming tour to bring the whole Motown-inspired Uptown Special experience to Australia in July.

“I’ve got the best band I’ve ever put together,” he announced on Friday afternoon, speaking to Triple J. And his assertions are justified, with an ensemble that includes not only a complete brass band, but also famed vocalists Andrew Wyatt (of Swedish indie pop trio Miike Snow), Daniel Merriweather, Theophilus London, and Tame Impala’s very own Kevin Parker.

Speaking about Kevin Parker, Ronson added, “I wasn’t going to come to Australia and do shows if he couldn’t come do shows with us. So that’s massive, the fact that we’re going to be able to Daffodils, Leaving Los Feliz, and Summer Breaking for the first time”.

“I’m about to go into the studio and rehearse for…a month for these shows.”

We have no doubt that Ronson will bring a slew of absolutely killer shows, especially with such exciting collaborations. Catch him at Splendour on the Friday, or check out his sideshows dates below. Click right here for our full rundown of Splendour sideshows.

In the meantime, get groovin’ to the ever-funky Uptown Funk:

It’s been almost exactly three years since Tanlines released their critically acclaimed debut album Mixed Emotions, and with the release of their sophomore album Highlights, there’s definitely a change – albeit a very minor one – to be detected. The 80s synth-pop inspired instrumentals are still there, as are lead singer Eric Emm’s soulful, despondent vocals, waxing lyrical of unrequited love and youthful nostalgia. But there’s a definite development to be found, in mood, in maturity, in process.

Indeed, Tanlines’ album definitely draws more on some acoustic melodies than the previous – perhaps due to multiple technological spats during the writing of the album, including the explosive breakdown of their computer, as Eric recounts here, and the result is a sound that is evocative of the duo’s own childhood. It’s interesting, because the band’s decision to work with an outside producer this time round – namely, Chris Taylor of Grizzly Bear fame – result in a sound that’s more polished than their first album, yet still retaining that almost low-key, “recorded-in-the-basement” vibe.

At the risk of sounding like a precocious tween Youtube commenter, Highlights makes me long for a time before my time, creating an ambience reminiscent of dusky streets and white-washed houses of 1980s suburban America. The album soars and dips between tracks such as Pieces/Palace that can only been described as groovy and other, more stripped back numbers like Darling Dreamer. But ultimately it is the tracks which mesh the two elements – like Slipping Away and Invisible Ways, which construct a blissful matrimony between crisp guitar and New Wave electronica – that are the standouts of the album.

It’s hard to find an album that is both so nostalgic and so laden with dance-worthy tracks. But Highlights does exactly that, and with all of the 80s gusto that Tanlines are renowned for.