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(WARNING: Massive spoilers for Loki will be found below, so get the heck outta here if you haven’t caught up on Episode 3.)

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Loki delivered a highly emotional episode (with Tom Hiddleston really drawing from his theatrical background) during “The Nexus Event,” which follows up on last week’s fan-pleaser of an installment that made the God of Mischief’s bisexuality canon. Not only that, but had Loki found himself romantically compromised by a Loki Variant named Sylvie (Sophia Di Martino), and we didn’t know if she could be trusted, yet this week, the show dispenses with suggestions of ulterior Enchantress motives on her behalf towards Loki. Instead, we learn that, yes, Sylvie can “enchant” people, but she’s definitely a Loki Variant as claimed. Further, we’re shown how Sylvie was tragically ripped away from her Asgardian childhood (as portrayed by Cailey Fleming from The Walking Dead), and no one in the TVA can even remember what she did to deserve this fate. We also receive confirmation that, yes, Mobius is a jet-ski-obsessed Variant, and everyone else who works at the TVA is a Variant, too.

As if that wasn’t enough of a gut punch (that’s a lot of ruined lives), the audience is dealt more blows. We learn that, yes, Loki has deep feelings for Sylvie, but the two are separated when TVA agents fetch them away from the Lamentis apocalypse. After their fates hang on the line during interrogation, Sylvie lives, but Ravonna “prunes”/vaporizes Mobius and then she kills Hiddleston’s Loki as well. Granted, Loki also reminded the audience (during this episode) that he’s died many times already, but it still stings to see it happen. And then comes the post-credits scene, which we must discuss.

First, we must note that Disney+’s MCU series use post-credits scenes sparingly, which makes sense. Yes, the MCU audience is trained to expect them with movies, but they’re tough to deliver with series, no doubt, since they generally suggest where the MCU is going. Since Loki introduced the multiverse, we can expect any post-credits scene from the show to carry extra significance, and that’s precisely what’s happening here:

This shot takes place immediately after Loki gets vaporized, and fortunately, that gold dust doesn’t stick, as Thanos’ dusting did. He’s not sure if he’s dead and in “Hel,” which is a sort-of purgatory for Asgardians. However, it’s probably safe to assume that Disney+ won’t whack the title character of this show with multiple episodes to go before season’s end (also, MCU producer Nate Moore has gone on record to state that Loki “lends itself to multiple seasons,” more than any other Disney+ MCU show). We don’t receive a definitive answer on Loki’s alive-or-dead status, but we do see what he sees:

We’ve got four more Loki Variants. Ladies and gentlemen, Richard E. Grant has entered the MCU as a Golden-Age, “Classic Loki” (who people will probably refer to as “Old Loki”) as named in the credits. A “Boastful Loki” (DeObia Oparei) is wielding a hammer. And there’s a character that the credits refer to as “Kid Loki” (Jack Veal), along with an Alligator Loki, who I’m betting will win this whole thing because this show is nuts.

What we’re left with here is the realization of one concrete fact: “Pruning” doesn’t kill Variants, although Classic Loki (in a very Kyle Reese-from-The Terminator manner) warns that Loki will be dead soon if he doesn’t follow them. And it seems that every Loki who gets pruned ends up in this post-apocalyptic wasteland, although we’re not sure where the other Variants go after pruning. Could Mobius be lurking around this joint, too? Fingers crossed.

Surely, next week’s episode will fill us in on more truths, but we must assume that Classic Loki is telling the truth, and time is of the essence. There’s part of me that suspects that this wasteland is a place that’s set up by Sylvie during her 1000-apocalypse life, so that the Lokis may gather to finally hatch a plan for disbanding the villainous TVA. However, we must also consider that this is the first we’re seeing of Loki‘s contribution to The Young Avengers gang that will replace the likes of departed Avengers — including Tony Stark, Natasha Romanoff, and so on — following Avengers: Endgame. Speculation has swirled that Florence Pugh’s Yelena Belova will join that gathering after Black Widow (the same goes for Hailey Steinfeld’s Hawkeye character in an upcoming Disney+ series), but for the moment, we’re looking dead-on at Kid Loki.

Kid Loki, in the comics, is part of that gathering of young replacement heroes. He was a reborn version of Loki, and there’s no telling how far this series will go with him, particularly because there appears to be little chance that Hiddleston’s Loki will ever truly die. Also, we can clearly have a zillion Lokis running around at any given time, should Kevin Feige choose to go there. Heck, the trailer even showed us Hiddleston’s Loki apparently being elected president, so we can assume that this is in the cards in the coming weeks.

From there, we can only hope that this gang of Lokis will help crush the TVA for good, so that the so-called “Sacred Timeline” goes away, and free will can exist, along with the multiverse. That appears to be where this post-credits scene is going, which would line up with the end of WandaVision and Scarlet Witch speed-studying to join Doctor Strange in the Multiverse of Madness. Phase 4 is definitely giving fans their money’s worth so far.

The biggest takeaway here: Disney+ is assembling The Young Avengers through these Disney+ shows (the WandaVision twins might even be part of the crew).

Here’s the biggest question left right now, though: Who created the TVA? Hopefully, we’ll find out more next week.

Disney+’s ‘Loki’ streams new episodes on Wednesdays.

The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.

Apparently, we all have Westside Gunn to thank for Tyler The Creator rapping again on Call Me If You Get Lost. They should absolutely be the most profuse thanks we can muster. In the leadup to his new album’s release, Tyler credited the Griselda don with inspiring his back-to-basics approach, which also doubles as DJ Drama’s latest Gangsta Grillz mixtape, the most surefire sign a rapper has reached the pinnacle of their powers.

Quiet as it’s kept, Tyler has been one of the best pure MCs across not just one, but two generations. Debuting as he did at the tail end of the late-2000s blog era (when those Gangsta Grillz tapes reigned supreme) but being about 10 years younger than its biggest stars, Tyler can proudly claim to represent both that time and this modern, post-Soundcloud streaming boom, acting as the bridge between both that someone like J. Cole imagines himself to be.

But, it was easy enough to forget that Tyler’s pen game is worthy of placement among rap’s upper echelons amidst all the chaos of his early introduction alongside Odd Future or his creative invention in more recent years as the sensitive loner of Flower Boy or the artful eccentric that was Igor. It’s kind of hard to pay attention to a clever turn of phrase or an armor-piercing punchline when you’re too busy feeling revulsion from watching a kid apparently down a roach, or mystified from his and his cohort’s antisocial antics.

Fortunately, Tyler’s latest alter ego, Tyler Baudelaire, has put all that behind him. In fact, of all the alter egos he’s displayed over the past several projects, this one feels the least like a put-on; Tyler was much too far removed in life circumstances from the awkward teen that was Flower Boy by the time he made the album bearing that title, while Igor was inherently a mask, playing up the Warhol-esque arthouse proclivities that drove that album to its critical acclaim and ill-fitting Best Rap Album Grammy win. On Call Me If You Get Lost, Tyler is most like himself, free of the artifice that he no longer feels the need to hide behind — and free to finally let his nuts hang, so to speak.

Here, he raps like a rapper. Boasts of wealth and status abound; on the chest-thumping “Lumberjack,” he flaunts that aforementioned golden statue, bragging that he “bought another car ’cause I ain’t how to celebrate.” He tells just what kind of car with a subtle hint in the punchline: “That big boy, that big bitch for all-weather / It never rain in Cali’, came with an umbrella.” That would be just about any car made by Rolls Royce, which stashes high-end umbrellas in the driver’s side doors of its automobiles. Tyler just told us he has a Rolls in the slickest way possible. Again, thank you, Westside Gunn. Sometimes, amid all the high-concept stuff out there in the world, you just want to hear a rapper floss cool stuff at a high level.

Tyler does cool stuff like this all over the album. On “Corso,” he spits a brain-teasing reference to the 106 & Park classics of his youth: “Hurricane-proof all the views, shit like ‘A Bay Bay.’” He slickly calls back to another misunderstood genius of rap on the barn-burning “Manifesto,” snarling, “I might not have dreadlocks, I might have these gold teeth / But I’m a n**** like you, and you’s a n**** like me.” I am trusting you to catch these references because to understand Tyler is to understand that Tyler is a true student of hip-hop, as well you should be too because if you’re only catching half the bars, you’re missing out. Tyler gets that, which is why he’s employed the ultimate signifier of cultural cachet, DJ Drama, to yell all over his tracks.

And look, I know that a lot of Tyler’s newer, younger, more sophisticated, hip, tasteful fans fell in love with the melodic bent his music has taken on since 2015’s Cherry Bomb. But as a member of that blog generation, someone who counts names like Kendrick Lamar and Wale among my peers and contemporaries, someone who recognized that Tyler could rap his Black ass off but didn’t seem to have anything to rap about until recently, I can’t help but feel like this is his most complete work yet.

He addresses racism, and the backlash to his refusal to speak out on issues that should be self-evident, on “Manifesto.” And his boasts are now Jay-Z level, not just in construction, but in content, revealing an un-self-conscious swagger that doesn’t aim to shock in its bluntness anymore. He’s just getting these bars off, feeling himself, and dismissing — not reacting to, truly dismissing — the lame criticisms his detractors fling at him “from your lunch break,” as he says on the provocatively-titled “Massa.”

Don’t even get me started on the production, which has finally achieved the ideal balance between his cacophonous, Neptunes-inspired percussion parties and the soulful wit of Igor’s most groovy moments. If there’s anything to be disappointed by, it’s that he soils the smooth H-Town sample on “Wusyaname” with an irksome verse from Youngboy Never Broke Again, who does the track justice but brings his abusive baggage to what should be another triumphant, bridging-the-gaps moment of cross-generational synergy. Tyler’s now the wise vet, passing the torch to hungry young upstarts like 42 Dugg that he was once semi-denied.

And he’s hanging, lyrically, socially, and financially with influences like Pharrell and Lil Wayne, bringing out their best because they need to keep him up with him. He even offers an olive branch to fans of his melodic material with “I Thought You Wanted To Dance,” which should appease the flower children who might well be bewildered by all this gruff tough talk. But it’s only an intermission in the rhythmic proceedings, offering a glimpse at a more well-rounded artist and letting us know this is only one of the tricks from his bag. That said, as much as you have to appreciate just how roomy and densely-packed that bag is, Tyler’s still left plenty of room for some good, old-fashioned, rhythm-and-rhymes-first-foremost-and-forever, “I’m the shit and I know it, now let me explain why”-style rap. Thank you, Westside Gunn.

Call Me If You Get Lost is out now on Columbia. Get it here.

(Spoilers for F9 will be found below.)

If F9 was your first Fast & Furious movie, first off, watch Furious 7 now.

Did you do it? Good.

And now watch the rest of the Fast films (you can skip Hobbs and Shaw), so F9‘s mid-credits scene makes sense. Otherwise, you probably had no idea why Jason Statham was in the movie, and why director Justin Lin saved him until half the audience had already left the theater, and why I gasped when Han showed up (this only applies to the person sitting next to me at the time). In short: fan favorite Han, played by Sung Kang, was killed in 2006’s The Fast and the Furious: Tokyo Drift… which takes place after the events of 2013’s Fast & Furious 6, but in that film’s mid-credits scene, we learn that the car accident that killed him was, well, no accident — he was murdered by Statham’s Deckard Shaw. Also, the words “killed” and “murdered” in that last sentence should be in quotes because Han is still alive. (I love this inexplicably complicated franchise.)

In an interview with the Hollywood Reporter, Kang was asked whether he knows how the mid-credits scene resolves itself. “I have no idea. Justin will not tell me until probably the day of,” he answered. “I don’t know if he knows yet, but I’m sure he has ideas.” If it’s like every other Fast movie, Han and Shaw, who’s kind of a good guy now (again, complicated), will resolve their differences because family. That’s the power of Dom.

Kang also told a story about the first time he met Statham.

I did a movie with him prior to Tokyo Drift called War, and I was a character that was in his police squad. It was him against Jet Li. We shot that in Vancouver, and when we wrapped the movie, we were both at the airport on the same day. So he asked me, “Hey, what are you doing next?” And I said, “I’m going to go do this movie Tokyo Drift, Fast and Furious.” And he said, “Fast and Furious? That’s a good franchise to be a part of.” And I was like, “Yeah, man.” And he said again, “That’s a good one, man.” And then years later, he plays Shaw! It’s crazy.

Maybe Kang can be in the sequel to Spy. No one has announced a sequel to Spy, but I’m putting it out into the world because there should be a sequel to Spy.

(Via the Hollywood Reporter)

Boygenius (Lucy Dacus, Phoebe Bridgers, and Julien Baker) had the indie world floored with their self-titled 2018 EP, and while the six songs on the release were great, fans were left wanting more. They’ve actually gotten more in a sense, as the trio has appeared on multiple projects together since then, like on albums from Hayley Williams and Baker. As far as a full-blown Boygenius reunion, though, the band members apparently really want that to happen, too.

Dacus and actress Thandiwe Newton recently had a conversation for Interview Magazine, and naturally, the conversation found its way to Boygenius. Dacus declared, “We want to play together again so bad. I think we’re so busy, but we would take any excuse, we miss each other so much.” She was then asked if the trio plans to record together again, and Dacus responded as optimistically as she could without confirming anything: “There aren’t any plans, but we talk all the time. I think we are the biggest Boygenius fans. We want it to happen, so we’re not working against it.”

Dacus also spoke about how how the trio’s respective record labels (Matador for Dacus and Baker and Dead Oceans for Bridgers) felt about the collaboration, and about how quickly the EP came together. She said:

“They didn’t really have a choice. We were going to be on tour together, so we recorded a song and it just turned into a whole EP, and they were like, ‘All right, well, put this out now.’ We recorded in June and I think the first song came out in August, which is the tightest turnaround. For instance, I recorded Home Video in August 2019, and it’s coming out June 2021. And even writing, we wrote all those songs the day before, or during recording. I think we were all very surprised.”

Read the full conversation here.

Hayley Williams is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Not content to explore the vast timeline of the Marvel Cinematic Universe in his own series, Loki will be invading the world of Springfield in an all new animated short for Disney+. The all-new Simpsons crossover titled The Good, The Bart, and The Loki, will feature Tom Hiddleston voicing the God of Mischief as he joins forces with another iconic trickster. Via The Wrap:

In the new short coming exclusively to Disney+, Loki is banished from Asgard once again and must face his toughest opponents yet: the Simpsons and Springfield’s mightiest heroes. The God of Mischief teams up with Bart Simpson in the ultimate crossover event paying tribute to the Marvel Cinematic Universe of superheroes and villains.

You can see key art for the Loki/Simpsons crossover below:

The Good, The Bart, and The Loki is now the second Simpsons short centered on a Disney property. To celebrate Star Wars Day on May the 4th, Maggie Simpson appeared in the animated short The Force Awakens From Its Nap. The long-running series also took aim at the MCU in its most recent season by having Marvel Studios head Kevin Feige voice Chinnos, an obvious riff on The Avengers villain Thanos.

On top of invading The Simpsons, Loki will also be getting his own Fortnite skin in July as part of the Fortnite Crew membership package. The guy’s everywhere.

The Good, The Bart, and The Loki starts streaming July 7 on Disney+.

(Via The Wrap)

Portland Trail Blazers forward Carmelo Anthony is a future member of the Basketball Hall of Fame whenever he is done playing in the NBA. Just this season, Anthony reached the top 10 of the NBA’s all-time scoring list and, in short, he lives in rarified air for his on-court accomplishments. On Tuesday, however, Anthony was honored for his work away from the hardwood and named as the NBA’s inaugural Kareem Abdul-Jabbar Justice Champion.

Earlier this month, Anthony was joined by Sacramento Kings forward Harrison Barnes, Philadelphia 76ers forward Tobias Harris, Milwaukee Bucks guard Jrue Holiday, and Golden State Warriors forward Juan Toscano-Anderson as the five finalists for the honor. As part of his win, the 37-year-old Anthony chose the Portland Art Museum’s Black Arts and Experiences Initiative to receive a $100,000 donation on his behalf. In the end, he was honored for what the NBA described as his “dedication over the past year to pursuing social justice and advancing Abdul-Jabbar’s life mission to engage, empower and drive equality for individuals and groups who have been historically marginalized or systemically disadvantaged.”

Among his incredible contributions off of the court within the last two decades since being drafted in 2003, Anthony partnered with Chris Paul and Dwyane Wade to create the Social Change Fund during the summer of 2020. Through that lens, he has championed criminal justice reform and inclusion, helped to expand voting access, and served as an advocate for marginalized communities. In addition, Anthony helped to raise awareness and stress the importance of the creation of a national holiday for Juneteenth, and his content company, Creative 7 productions, focuses on purposeful storytelling that highlights diverse voices.

On Tuesday night, Stephen Colbert had some exciting news to share about the Capitol riot investigation: “We may finally learn what we already all know happened, because yesterday Speaker Nancy Pelosi introduced a bill that will ‘create a select committee to probe the January 6 attack on the Capitol.’”

It’s worth noting that Pelosi’s announcement was delivered exactly one month after Senate Republicans blocked a previous effort to establish an independent, bipartisan commission to investigate the riots—a move that had Colbert saying, “What a surprise! Asking Republicans to investigate the Capitol riot is like my favorite book in middle school: Nancy Drew and the Case of Nancy Drew Murdered Somebody.”

If an investigation is to move ahead, however, the GOP wants to make sure they’ve got their say in how it proceeds. While Pelosi will select eight members of the commission, five would be chosen “after consultation with” House Minority leader Kevin McCarthy. Which is where the real fun begins, according to Colbert:

“Insiders say McCarthy is likely to suggest loyal MAGA-heads to gum up the works of the investigation and the crème de la crazy are already volunteering for the job, like Georgia Representative and woman in The Matrix who took all the pills Marjorie Taylor Greene, who has been ‘publicly pushing to be seated on the panel.’ I for one can’t wait until she offers up her theory that the halls of Congress were actually soiled by Jewish poop lasers!”

Florida Representative and Jimmy Douchetron Matt Gaetz also openly expressed his interest. As usual, he showed his interest by offering to give the commission a ride home from band practice.”

Just what every serious probe needs: A certifiably insane conspiracy theorist and a man under investigation for sex trafficking.

You can watch the full clip above, which starts around the 4-minute mark.

Fans who tuned into Tyler The Creator’s new album Call Me If You Get Lost may have noticed that, as opposed to the more tender sentiments expressed on his last two collections, this project featured much more materialistic subject matter than usual (I consider this a good thing). According to TMZ, this newfound ballerific intent isn’t just confined to the lyrics on the new album, as Tyler’s new chain based on his nickname from the album set him back half a million dollars.

It’s a tiny, multicolored bellhop — yes, Tyler chooses to have people call him one of those hotel guys who carry your bags, which… actually makes sense, considering how much he loves bags — covered in yellow, pink, red, and green gems, including diamonds and sapphires. Per TMZ, it contains 23,515 hand-set stones comprising 186 carats in diamonds and 60 carats in sapphires, while the little suitcases actually open and close. It was designed by jeweler Alex Moss, with whom Tyler worked on the piece for around seven months. The idea was sparked then, with around four of those months dedicated to actually acquiring the stones (I would love to see a movie about this, a la Uncut Gems).

You can spot Ty rocking the chain in his video for “Juggernaut,” as well as in shots from the red carpet of the BET Awards, where he performed “Lumberjack” amid a simulated windstorm.

The majority of the songs on the recently announced Big Machine project How Long Do You Think It’s Gonna Last? have a guest, as the album features Fleet Foxes’ Robin Pecknold, Ben Howard, This Is The Kit, Naeem, Sharon Van Etten, Lisa Hannigan, My Brightest Diamond’s Shara Nova, and Taylor Swift. There are a handful of songs credited just to the group though, and on three of them, Aaron Dessner sings lead vocals, which is a first for him. Now, one of those songs, “The Ghost Of Cincinnati,” has been unveiled.

Dessner sings and plays acoustic guitar on the track. Dessner shared a statement about the song, writing on Instagram:

“The Ghost of Cincinnati is one that I play and sing all by my lonesome. It was inspired by a screenplay called ‘Dandelion’ by the filmmaker [Nicole Riegel] (who co-wrote the lyrics with me), which my brother [Bryce Dessner] and I are working on. It’s about someone who feels like a ghost, stalking the streets of their hometown, interrogating the past and contemplating their fate — something I can deeply relate to. I imagine this could be a little bit about myself, or friends I’ve lost or someone who has overextended and overspent themselves to a point where they’ve lost everything, empty and hollow like a ghost.

Thanks to Justin, Taylor, Jack, my sister and brother for convincing me to sing more and to finish this song for the album.”

Dessner previously said of the project as a whole, “This is all music I initially generated and feel emotionally connected to, but it has been very interesting to hear how different people relate to it and how different voices collide with it. That’s what makes it special. With everyone that’s on this record, there’s an openness, a creative generosity, and an emotional quality that connects it all together.”

Listen to “The Ghost Of Cincinnati” above.

How Long Do You Think It’s Gonna Last? is out 8/27 via Jagjaguwar/37d03d. Pre-order it here.

Anybody who thought the vinyl resurgence was just a fad was mistaken: The industry has experienced a legitimate revival. As a result, music fans are interested in physical media in ways they may not have if the decades-old medium hasn’t made a comeback. That doesn’t mean everybody is listening to just their parents’ old music, though. That’s part of it, sure, thanks to rereleases that present classic albums in new ways. A vital part of the renewed vinyl wave, though, is new projects being released as records, of which there are plenty.

Whatever you might be into, each month brings a new slew of vinyl releases that has something for everybody. Some stand out above the rest, naturally, so check out some of our favorite vinyl releases of June below.

The Roots — Do You Want More?!!!??! (Deluxe Edition)

The Roots have been one of hip-hop’s finest groups for a long time and their ascent began with their 1995 major-label debut, Do You Want More?!!!??!. Now, they’re celebrating the iconic release with a slew of new reissues. The most expansive is the 4-LP edition, which includes a 24-page booklet and a whopping 18 bonus tracks, some of which have never been released and all of which were curated by Questlove.

Get it here.

2Pac — Until The End Of Time (20th Anniversary Reissue)

Before Tupac was prematurely taken from us, he had a hell of a career, to put it lightly. One of the highlights, his album Until The End Of Time, turns 20 this year, and now it’s available on “high-quality, 180-gram audiophile grade vinyl” for the first time in two decades. This 4-LP release is a special one, as it comes with previously unseen photos and even a tracklist handwritten by Tupac himself.

Get it here.

PJ Harvey — White Chalk and White Chalk Demos

PJ Harvey has essentially become the cornerstone of his monthly vinyl rundown with her regular rereleases. Her latest project to get the reissue treatment is White Chalk, her well-received seventh album from 2007. Also shared was a collection of demos, which were previously unreleased and are also available on CD and digital formats.

Get White Chalk here. Get White Chalk Demos here.

Dave Chappelle — 8:46

Last year, Dave Chappelle famously released 8:46, the title of which references how long Derek Chauvin had his knee of George Floyd’s neck before his death. Now the comedian is extending his special’s reach with a new Third Man Records reissue, which is pressed in a color edition that is limited, appropriately, to just 846 copies.

Get it here.

Alicia Keys — Songs In A Minor (20th Anniversary Reissue)

Alicia Keys came blazing out of the gate with her 2001 debut album Songs In A Minor. Now the chart-topping, multi-platinum release has gotten a fresh reissue that includes some enticing goodies. Most excitingly, there’s a pair of previously unreleased bonus tracks from the original album recording sessions: “Foolish Heart” and “Crazy (Mi Corazon).” Additionally, there’s also “Fallin’ – Ali Soundtrack Version” and “I Won’t (Crazy World),” the latter of which was previously available on the 10th Anniversary Physical Deluxe edition, meaning this is the first time it’s available to stream.

Get it here.

Lady Gaga — Chromatica

Lady Gaga had one of 2020’s defining pop albums with Chromatica, and now she has come out with the ultimate edition of the album for diehard fans. This one is pressed on 180-gram black vinyl and comes with a trifold embossed jacket, a new 28-page booklet, and a 40-page fanzine.

Get it here.

Rod Stewart — Rod Stewart: 1975-1978 (Box Set)

Although Rod Stewart had a No. 1 album early in his career, he needed a boost after 1974’s Smiler, which was a relative chart flop in the US. He followed that by signing with Warner Bros. Records and busted out a quartet of prosperous albums, three of which were top-two on the charts: Atlantic Crossing (1975), A Night On The Town (1976), Footloose & Fancy Free (1977), and Blondes Have More Fun (1978). Those four pivotal records have been compiled on this new box set, which also features studio outtakes from each of them. Stewart himself says of the collection, “It’s extraordinary for me to look back on this era of my career. I think fans will enjoy experiencing these songs on vinyl. I know I did.”

Get it here.

Ludacris — Word Of Mouf (Vinyl Me, Please Reissue)

Ludacris remains a pop-culture force today, and that was especially true when he released 2001’s Word Of Mouf, which features hits like “Area Codes” and “Move B*tch.” In celebration of the record’s 20th anniversary, it has gotten a slick new reissue via Vinyl Me, Please, which is pressed on “orange galaxy” vinyl and has a gorgeous overall presentation.

Get it here.

Sharon Van Etten — Epic Ten

Sharon Van Etten came up with a great way to celebrate the 10th anniversary of her album Epic: Re-release it alongside a version of the album covered by other artists. Participating in the project are folks like Courtney Barnett, Justin Vernon, Fiona Apple, and others. Van Etten says of the reissue, “Epic represents a crossroads for me as an artist. Going from intern to artist at Ba Da Bing, from solo folk singer to playing with a band for the first time and beginning to play shows on tour where people showed up. I am in awe of the artists who wanted to participate in celebrating my anniversary and reissue, from young inspiring musicians, to artists who took me under their wing, who I met on tour, and to artists I’ve looked up to since I was a teenager. Each one of these artists continue to influence my writing and provide a sense of camaraderie during this new era of sharing music.”

Get it here.

The Avalanches — Since I Left You (20th Anniversary Reissue)

June was a big month for 20th anniversaries, because here’s another one. This time, it’s Since I Left You from The Avalanches, and it features a handful of bonus tracks, including new mixes from Black Dice, Leon Vynehall, Sinkane, Carl Craig, and MF Doom. The Doom contribution is previously unheard vocals on “Tonight May Have To Last Me All My Life (MF Doom Remix),” which adds to the icon’s posthumous legacy. The box set collection that houses this anniversary set is essential for fans of the project.

Get it here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.