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Last year, Pup released Morbid Stuff, their wonderful third record and first for Rise Records. Now they’re looking back fondly on the time they spent promoting the album with a new live release: The band has announced Live At The Electric Ballroom, which was recorded during a pair of shows at the historic London venue on November 20 and 21 last year.

Like the show itself, though, this release will be fleeting. It comes out on Friday, July 3 (on Bandcamp for #BandcampFriday), and that is the last day it will be available for download. Half of the record’s proceeds will be donated to Critical Resistance and Breakaway Addiction Services in Toronto.

In a statement about the release, the band says they recorded the album primarily as a keepsake for themselves, but the result ended up sounding better than they expected:

“We never planned on putting these recordings out, because we expected them to suck. They were mostly just for ourselves, to mark what we considered to be a pretty big moment in our careers. But turns out, they suck a bit less than we expected. So in typical PUP fashion we made a plan to release them in a self-sabotaging, stupid way. The record will be sold for one day only. After that, it’s gone. Everyone we work with told us it’s a terrible idea. And they are definitely right. But one of the reasons we love working with them is because sometimes they agree to let us f*ck up on our own terms, and rally behind us in a supportive way. Thanks guys.”

When the album is available, pick it up here.

20 years ago, if you said Nike would become one of the most visible brands in the realm of skate shoes people would’ve laughed in your face. Something by Osiris, a new iteration of the Puma Clydes, anything by Vans, Converse, or D3 shoes… Hell, even Adidas, no one would’ve batted an eye. But Nike?

No way. That was a mega-corp for hoopers and workout fanatics. It was MJ’s company. And though Jordans were definitely cool in hip-hop, skate and rap hadn’t fully crossed over yet.

All that changed in a hurry in 2002, when Nike officially launched its SB sub-brand with the Nike SB Dunk Lows. The Swoosh had the deep pockets, brand familiarity, star designers, and unmatched distribution reach to succeed smashingly, but the experiment still could have fallen flat had Nike (not yet a billion-dollar company in 2002) tried to strongarm the scene. Instead, they slow-played it, clout borrowing (thanks to boatloads of cash) from the coolest names in the sport.

It proved incredibly wise. To help kick off the SB Dunk Lows, Nike linked up with Supreme — you know, those craze-inducing purveyors of cool and still one of the strongest tastemaking brands on earth. After leveraging Supreme’s cultural cache, Nike rolled out custom colorways with SB athletes Danny Supa, Richard Mulder, and Reese Forbes. Soon, every skater and street icon had to have a taste, leading to collaborations with prolific street artists like Futura, counterculture icons like Jeff Staple, and skate brands like Diamond Supply Company.

By the time Lupe Fiasco shouted the SB Dunks out in 2006’s “Kick, Push” and certainly by the point when skater Eric Koston (“Do a kickflip!”) helped Nike finally make the shoe better for actually skating in 2009, the silhouette had become an institution. As fresh and coveted as a pair of Jordan 1s. The fact that the shoe itself — which was a reinvention of a mid-’80s hoops classic — proved incredibly popular with skaters and easily adaptable to collab-driven colorway changes and design tweaks definitely helped move the needle.

To celebrate the sneaker, which is enjoying a resurgence of popularity (thanks, in part, to Travis Scott’s Cactus Jack-spin on the silhouette), we’ve collected all the best iterations in the sneaker’s history from 2002 to 2020. Check them out, save your coin, and dream of re-releases.

Supreme x Nike SB Dunk Cement, 2002

What a way to kick off the list. The Supreme Nike SB Dunk Low is still one of the greatest pairs of the sneaker in its eighteen-year history. This particular iteration is notable for its use of the textured “elephant skin” nubuck leather first introduced on the Jordan 3 back in 1988. When this sneaker dropped in 2002, it was the first time the “cement” colorway was used on another sneaker, and Nike couldn’t have chosen a better streetwear label to break it out for.

Supreme Nike SB Dunk Low dropped in both a black and cement colorway with a crimson collar, or the much brighter white and cement colorway, with the true blue-collar. We lean more towards the black, but both pairs are wildly popular — selling for close to $10,000 on aftermarket sites.

Nike SB Dunk Low Mulder, 2002

The debut sneaker in Nike’s “Color’s By” series — a collection of Nike SB Dunks released in colorways hand-selected by Nike’s roster of team riders — the “Mulder” was selected by pro skater Richard Mulder who tried to recreate the colorway of his first pair of Nikes. The Mulder is one of the sneaker’s best colorways, thanks to its crisp leather upper with a simple bright blue swoosh. It’s minimalist, sure, but white leather sneakers have never looked this good.

Nike SB Dunk Supa, 2002

Another great colorway from the SB Dunk’s debut year, pro skater Danny Supasirirat’s New York Knicks referencing take on the SB Dunk was also part of Nike’s “Colors By” series, consisting of colorways hand-selected by Nike’s sponsored team riders. When Supa’s take dropped in 2002 it was a quick favorite amongst sneakerheads and holds up to this day as one of the silhouette’s best presentations.

Nike SB Dunk Reese Denim, 2002

Say what you will about this pair of Nike SB Dunks, but credit where credit is due. When Nike decided to take inspiration from a pair of signature jeans that pro skater Reese Forbes had just dropped, art director Natas Kaupas struck on something that spoke to a lot of streetwear tastemakers.

The upper consists of midnight blue distressed denim with bright red accents. Despite the fact that you could make a strong argument for these being ugly, they fetch prices well above $5,000 in the aftermarket.

Nike SB Buck, 2003

The Nike SB “Buck” colorway came straight from the mind of Nike co-founder Phil Knight, who stayed repping Oregon hard with this design that borrows the colors of the University of Oregon. Other highlights from the design include “PK” branding on the heel, and suede paneling over the leather upper.

Supreme x Nike SB Dunk High, 2003

We don’t blame Supreme for doing a complete 180 with their followup to the Cement SB Dunk — that’s a hard sneaker to follow. But the 2003 high top SB Dunk isn’t without its charms. Featuring a varsity red and white colorway with a distinct star-patterned graphic beneath the swoosh, this design feels like a dope victory lap to kick off the second year of Nike SB Dunks.

Nike SB Dunk Low Tokyo, 2004

Part of Nike’s City Series, the Tokyo SB Dunks swap out the leather upper for a canvas/muslin blend that gives the sneaker a sort of down-to-earth workwear vibe. The Tokyo was absent of branding on the heel and tongue, making this a favorite amongst DIY sneaker painters who treated the pair as a blank canvas.

Nike SB Dunk London, 2004

Another low-key subdued design out of Nike’s City Series, the London’s also played with the base upper of the SB Dunk, trading the leather for a full-suede makeup. The tonal panels of grey captured the foggy vibe of the city, and to round out the design an embroidered outline of the River Thames in midnight blue adorns the side heel panel.

Nike SB Dunk Low Paris, 2004

The best colorway out of Nike’s City Series, the Paris Dunk is just a beautiful pair of kicks. Made in collaboration with French painter Bernard Buffet, each pair of the Paris featured a totally unique upper, making the production run of just 200 pairs feel all the rarer.

Nike SB Dunk Hemp Pack, 2004

Dropping in a red mahogany, bonsai, and cascade blue iteration the Hemp Pack featured uppers composed entirely of hemp. Not only do they still look dope 16 years later, it’s proof that Nike is perfectly capable of making sustainable shoes. Why they don’t continue to do so is beyond us.

Nike SB Dunk High FLOM, 2004

Made in collaboration with graffiti artist Futura, the FLOMs, or “For Love Or Money” Dunks featured a tile-based upper composed of different denominations of currency. In a strange way, they feel like a precursor to Travis Scott’s take on the silhouette from this year, providing that Futura has always been ahead of the game no matter what field he decides to dip his toes into.

Nike SB Dunk High Pro Sea Crystal, 2004

Sandy Bodecker was to the Nike SB what Tinker Hatfield is to the Air Jordan and one of his best iterations ever came about when Bodecker stumbled upon a color in Nike’s seasonal color palette selections in 2004 that reminded him of the washed-out sea glass that he once collected as a kid on the beaches of Connecticut.

Other notable variations to the SB design on this iteration include the use of Pig Suede which helped to bring out the sneaker’s unique colors.

Nike SB Dunk Pigeon, 2005

Probably the most legendary sneaker on this list, the Pigeons came about at a time when sneaker culture was entering an new golden age. Made in collaboration with Jeff Staple, the Pigeon’s release was so hyped that a riot broke out over the sneakers in New York City, the city the sneakers were repping with their embroidered pigeon on the heel.

Stussy x Nike SB Dunk Cherry, 2005

A fan favorite to be sure, this collaboration with Stüssy sports a colorway of chocolate, strawberry, and vanilla inspired by Neapolitan Ice Cream. Why Nike felt the need to add a cherry to the tongue (and name) when Neapolitan Ice cream doesn’t have cherry is a mystery we don’t care to solve because — inaccurate name or not — this pair is just too fresh.

Nike SB Dunk Rayguns, 2005

The Rayguns hold the distinction of being one of the first of the Dunks to feature the SB logo on the tongue. This mismatched colorway was inspired by a fictional ABA team called the Roswell Rayguns and features an alien — which would naturally be that team’s mascot — embroidered on the heel. It’s a silly concept, sure, but the colorway of orange flash, deep black, and bright white is one of the Dunk’s best.

Diamond Supply Co. x Nike SB Diamond Dunk, 2005

The Diamond Dunks look like they would be better utilized in a display case in a sneaker museum than getting beat up on a skater’s feet. Would that stop us from wearing a pair if we owned one of our own? Nah. Featuring crocodile-embossed leather, a shimmering chrome swoosh, and Tiffany Blue leather detailing, this collaborative kick designed by Diamond Supply Co. founder Nick Tershay is an undeniable entry on this list.

Nike SB Dunk SBTG, 2006

Designed by famed Singapore-based artist Mark “Sabotage” Ong, the Dunk SBTG featured hand-painted graphics and patterns by ONG and a screened lace flap. The lace flap hasn’t been seen on a notable pair of SBs since, making the SBTGs instantly recognizable amongst seasoned sneakerheads and SB Stans.

Nike SB What The Dunk?, 2007

Ironically, when Nike decided to design a Dunk cobbled together from 31 of the best SB Dunk colorways, the stated goal was to create a “Dunk to end all dunks,” and you’ll notice a huge gap between the years 2007 and 2019. Don’t get us wrong, Nike didn’t stop making Dunks in the intervening years, the designs just fell off pretty hard and the SB Dunk wouldn’t start to get its groove back until around 2017.

You’ll quickly notice how the upper of the What The Dunk takes on a sort of Greatest Hits quality. Unfortunately, the design turns into a mess. Still, it signifies the end of an era for the SB Dunk. Oh yeah, and owning a pair means you hold a small fortune — these are pricey on the aftermarket sites.

Parra x Nike SB Dunk Parra Dunk, 2019

Though not as cool as the Parra Nike Blazer that the dutch artist of the same name produced for Nike in 2019, the Parra Dunk was everywhere at last summer’s ComplexCon. Featuring a distinct soft chenille swoosh over whiter leather with red, pink, and blue accents, the Parra Dunk oozes serious 80s vibes, offering a different take on the SB Dunk and reinvigorating the brand.

StrangeLove x Nike SB Dunk, 2020

Nike dropped this collaboration with StrangeLove skateboards just in time for Valentine’s Day in a special pink box with a heart-shaped window, a coveted gift amongst skater couples. Featuring an upper of red, pink, and white velvet, atop a clear pink outsole, the StrangeLoves are not just one of the best Nike SB Dunks of all time, they’re one of the best drops of this year.

P-Rod Dunk, 2020

Before the SB Dunks got the “SB” in their name, they were just a simple 80s basketball silhouette intended for the court. Then they became the premier skate shoe for about 20 years in the new millennium, and now maybe they’ll enjoy a third life as a boxing shoe. Paul Rodriguez, aka P-Rod, designed this Mexican-flag-inspired leather take on the high-top for his signature SB Dunk, and it was a great way to start the year in which the SB Dunk became cool again.

Travis Scott Nike Sb Dunk Low Cactus Jack, 2020

Probably the most hyped SB Dunk since the original Supreme Cement, Travis Scott’s earthy take on Dunk perfectly reflects the rappers’ aesthetic. Featuring rope style laces, a woodsy camo pattern, and Cactus Jack branding, Travis Scott’s iteration on the Dunk swaps out the tongue for an extra thick version and adds some paisley bandana patterning on canvas overlays.

When this shoe dropped in February, so many snakeheads flooded the Nike site that it had to temporarily shut down.

Ben & Jerry’s x Nike SB Chunky Dunky

The Chunky Dunky was the most recent Nike SB Dunk to drop and to be honest, we feel a little uncomfortable closing the list with something so polarizing. But the Chunky Dunky was the sneaker that proved that even a pandemic and an economy barreling toward depression wasn’t enough to stop sneakerheads from absolutely losing their mind over a pair of shoes.

What’s cool about the Chunky Dunky are all the small details — the cow print leather overlays, how the upper utilizes the Ben & Jerry’s logo, the psychedelic tie-dye collar that pays homage to Ben & Jerry’s crunchy hippie roots… It’s a sneaker for sneakerheads and a great reminder that the best sneaker designs come from a place of humor and fun.

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.

IDK‘s friends are a nice addition to the Maryland rapper’s latest EP, the fittingly titled IDK & Friends 2, but the main attraction throughout remains the man himself. IDK last used the concept of a straightforward EP of collaborations with his closest associates in 2018, offering up a 16-minute, seven-track free-for-all with both fellow DMV area natives like Q Da Fool, Rico Nasty, and Wale and a broader range of fan favorites including Denzel Curry, Domo Genesis, and Maxo Kream. At the time, he called the project a means to an end; having secured a major deal for his Clue imprint with Warner Records, he swore to fans he’d never make another.

Much like the oft-repeated promise of IDK’s fellow rappers to drop an album and retire, it turns out he couldn’t keep himself from snapping this promise himself — and thank goodness. The eight tracks here, which feature an even larger guestlist than its predecessor, are a welcome, low-stakes addition to IDK’s mostly high-concept canon after his heady major debut Is He Real? This time around, the justification he’s presented for returning to the time-proven well is his role as music supervisor on Kevin Durant’s documentary film Basketball County: Something In The Water — for which IDK & Friends 2 serves as a de facto soundtrack.

The song that most ties the two projects together is “495,” a celebration of the film’s titular Prince George’s County, from which both Durant and IDK hail — along with the rest of the posse cut’s roster. Rico Nasty returns, bringing with her PG County staple Weensey, as well as up-and-comers Big Flock, Big Jam, and YungManny, who released his debut project Confused in May at 16 years old. “495” is a heavy-hitting jigsaw of a track, clobbering listeners with its hypnotic beat and caressing them with Weensey’s soulful hook. A fitting showcase of some of the county’s hottest talents, it’s like putting a petri dish under a microscope and watching chemistry in real time.

That chemistry extends beyond the borders of “basketball county,” though. On “Mazel Tov” with ASAP Ferg, the bars swarm like angry wasps over a freaky flute loop, and on personal favorite “Bulletproof,” the goth trap vibes of 2015 come back for a raucous exchange between IDK, Denzel Curry, and Maxo Kream. The tough guy talk is fun, but down-to-earth, with slick turns of phrase punctuating the threats. “That boy the type to spin a n**** block like a dreidel,” IDK quips. “His hammer got him dancin’ up and down like they Ellen.” Likewise, his guests get in their own punchlines, “Stevie Wonder, walk with sticks like Ray Charles,” smirks Maxo, who shows he’s got the chops to keep up with the clever DMV native.

But it’s not all stick talk and menace here. One of the qualities that sets IDK among the most engaging and imaginative of the rising class of rap stars is his competence in multiple disciplines. While the title and beat of “Square Up” might suggest more fight music, instead IDK makes a twerker’s anthem worthy of his rhyme counterpart — Juicy J — on the track. Then, on album closer “Live For It” featuring PG County’s highest-profile non-athlete native, Wale, the two rappers reel off their rags-to-riches stories, humblebragging lines like “Never been ashamed to say my name if they sayin’, ‘Who the best?’”

It’s not a coincidence that the rhymes could just as easily apply to Basketball County subjects like Victor Oladipo, Micheal Beasley, and Markelle Fultz. IDK’s gift for metaphor carries over from Is He Real? to provide yet another set of parallels between hoops and hip-hop, underlining the grind, dedication, skill, and raw talent needed to succeed in each. IDK & Friends 2 proves that its star player is not only adept at racking up highlight plays for himself but also capable of being a good teammate, giving his collaborators the opportunity to shine without being afraid to take over. This time he hasn’t made any pronouncements of his future plans, because he’s learned — as any great player knows — to let the game come to him.

IDK & Friends 2 is out now via Clue No Clue LLC / Warner Records. Get it here.

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

Despite being just a few months removed from his Janktape Vol. 1 joint mixtape with Kent Jamz and a couple of days past their video for “Bad Boys,” Compton rapper Buddy is already hard at work on new music, sharing a minimalist video for his sexy new single, “Faces” featuring RCA Records labelmate Lucky Daye. The song, built over a slow, bass-driven groove produced by D’Mile, finds Buddy and Lucky offering seductive come-ons to women whose half-hearted defenses belie their true intentions.

“You was talkin’ all that sh*t, now you butt naked at my spot,” Buddy brags. “Now we makin’ f*ck faces.” The video focuses on a sensuous female form in front of a hot pink backdrop but hidden behind a sheet of steam as droplets of water run down the screen for an enticing image suggesting the aftermath of the sessions being described in the verses.

Buddy’s having a productive year thus far, following up the release of Janktape with the sequel to his standout 2017 single “Black 2” in response to protests against police violence. Buddy also featured in the video for “Don’t Hit Me Right Now” from the deluxe version of Dreamville’s Revenge Of The Dreamers III, the album for which Buddy also received his first platinum plaque.

Watch Buddy’s “Faces” video featuring Lucky Daye above.

Justice League came out three years ago, but it’s inexplicably one of the most talked-about movies of 2020. First, there was the successful Release the Snyder Cut movement (it’s coming out on HBO Max); now, there’s Ray Fisher v. Joss Whedon.

Earlier this week, Fisher, who played Cyborg in the 2017 superhero team-up movie, “forcefully retract[ed] every bit” of a statement he previously made about Whedon, who replaced Snyder after the 300 director departed Justice League due to a family tragedy. In the clip, taken from a 2017 San Diego Comic-Con event, he calls Whedon “a great guy and Zack picked a great person to come clean up and finish up for him.” About that.

“Joss Wheadon’s on-set treatment of the cast and crew of Justice League was gross, abusive, unprofessional, and completely unacceptable. He was enabled, in many ways, by [Justice League producers] Geoff Johns and Jon Berg,” Fisher tweeted, adding, “Accountability > Entertainment.” The tweet is still live, although as his bio notes, “My posts don’t last forever. Enjoy them in the moment and let’s move on together.”

Warner Bros. and Whedon, as well as Snyder (who Fisher previously thanked for “EMPOWERING me (a black man with no film credits to his name) with a seat at the creative table”), have yet to respond.

After public deliberations by bench guard Lou Williams over whether he would join the Clippers in the NBA bubble in Orlando, head coach Doc Rivers threw water on the concern over his availability in a virtual press conference on Wednesday.

“I do expect Lou to be with us,” Rivers told the media. “I would be very surprised if he’s not.”

Williams has given several interviews recently where he said he had not decided about whether to participate, but always remained steadfast that it would come down to what the rest of the Clippers did.

“If the majority of the guys say, ‘This is what we gonna do, this is what we gonna stand on’, then I’m all aboard,” Williams told rapper Fat Joe on an Instagram Live chat last week. “Whatever my decision will be, it’ll be collective.”

Of course, the Clippers’ fortunes center largely around Williams’ decision. With him, they have a player capable of getting his own shot off the bench and occasionally closing games. In their pick-and-roll and isolation-heavy offense, Williams is a perfect fit. Without him, they lose a bunch of scoring around which their team is built.

If Rivers is right, and the collective team will to play encouraged Williams to participate, then the Clippers stack up as one of a handful of teams capable of winning the NBA championship this fall in Orlando.

A Boogie Wit Da Hoodie shared his strong Artist 2.0 album early this year which featured hits like “King Of My City” and “Numbers.” But A Boogie didn’t stop there. Since his album’s release, the rapper has remained prolific, releasing a few singles and a 29-track deluxe album. Now, A Boogie returns with the laid-back number “Flood My Wrist,” featuring frequent collaborator Lil Uzi Vert and label mate Don Q.

The new single arrives alongside a breezy, Perfect Picture-directed video. The joyful visual mirrors the carefree nature of the summertime anthem. It opens with Don Q in his home as he turns on the TV and is instantly transported to A Boogie’s iced-out tour bus.

“Flood My Wrist” arrives just a few weeks after A Boogie dropped his Artist 2.0 deluxe album, which featured an impressive nine bonus tracks. Along with releasing the deluxe record, A Boogie donated $100,000 to his old Bronx elementary school. “With everything going on in the world, I believe it’s important to invest in the youth because by doing so, we are investing in a better future,” he wrote about his charitable act.

Watch A Boogie’s “Flood My Wrist” video above.

Artist 2.0 is out now via Highbridge/Atlantic. Get it here.

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

Many of David Ayer’s movies are set in Los Angeles, whether it’s Denzel Washington showing Ethan Hawke around the city in Training Day, Jake Gyllenhaal having his life “changed” by End of Watch, or Will Smith working with an orc cop in Bright. There’s an entire Wiki page dedicated to every film of his that takes places in Los Angeles; in related news, David Ayer has his own Wiki page. We should all be so lucky. Anyway, the Suicide Squad director is returning to his California roots in The Tax Collector, which also finds him re-teaming with Fury star Shia LaBeouf. The crime-thriller, about two “collectors” (played by LaBeouf and Bobby Soto) working for a crime lord, was inspired by Ayer wanting “to get back to my roots. I wanted to share the streets I know, the world I know. It’s a personal and tough movie about the LA I love,” he told Collider.

Watch the trailer above. Here’s the official plot synopsis:

David (Bobby Soto) and Creeper (Shia LaBeouf), are “tax collectors” for the crime lord Wizard, collecting his cut from the profits of local gangs’ illicit dealings. But when Wizard’s old rival returns to Los Angeles from Mexico, the business is upended, and David finds himself desperate to protect what matters more to him than anything else: his family.

The Tax Collector is in select theaters and on-demand and digital on August 7.

Breaking the law! Breaking the law!

Dust off your nostalgia from your late 1990s nights spent watching MTV. Beavis and Butt-Head, starring those profane and terminally chuckling couch-lovers, are coming back for more. This time around, they’ll appear in a reboot that Comedy Central is calling a “reimagining” of Mike Judge’s seminal MTV animated show. The announcement doesn’t give clues on whether the two leads will still be teenagers (who time traveled?) or if they’ll have finally graduated into adulthood, but Comedy Central stresses that “[t]he Gen X defining leads are back and entering a whole new Gen Z world.”

Judge, who will write, produce, and do voice-over work for his two lead creations, had an excellent statement to offer: “It seemed like the time was right to get stupid again.” (Once again, he’s capturing the zeitgeist.) Meanwhile, Chris McCarthy, President of Entertainment & Youth Group at Comedy Central, adds that “Beavis and Butt-Head were a defining voice of a generation, and we can’t wait to watch as they navigate the treacherous waters of a world light-years from their own.”

This news arrives not long after Comedy Central’s announcement that another MTV animated series, Daria (whose title character didn’t get along with Beavis or Butthead), would receive its own spinoff (called Jodie) that’ll be voiced by Tracee Ellis Ross. As for today’s update, it’ll be interesting to see how the Beavis and Butt-Head franchise will adjust its satirical spin to encompass our current times. In addition, the announcement alludes to spinoffs and specials atop at least two regular seasons of the revamped Beavis and Butt-Head series. It looks like Comedy Central’s getting even more serious about its place in the already plentiful adult animated market.

Fingers crossed for a Cornholio spinoff.

After laying low on solo releases and featuring on albums from Russ, Thundercat, and others, Ty Dolla recruits an all-star lineup of artists for his latest single, the long-awaited “Ego Death.” The who’s-who of big names on “Ego Death” includes Kanye West, who reproduces his “I Love It” loop on the beat, FKA Twigs, Skrillex, and Serpentwithfeet. Lyrically, the song deals exactly in its titular subject matter, with Ty sharing his rumination on letting go of self-centered concerns — although, in this case, his “ego death” involves being left behind after a bad relationship.

“Off too many drugs, it’s so bad for us,” he says of the toxic romantic encounter. “One too many drinks and you had enough.” However, on the hook, he details his ex’s escape, crooning, “It hurt my ego when you walked away / Gave you my all, that wouldn’t make you stay / Murdered my ego when you walked away.”

Ty and Kanye first teased the song during the Chicago rapper’s long-winded (and ultimately fruitless) rollout for the abandoned Yandhi, debuting it during Coachella in 2019. All the hallmarks of the Yandhi era’s excesses are present in full here, from credited artists only appearing for a few seconds to Kanye’s conspiracy theorizing in his verse. As a time capsule, it’s a fascinating glimpse at a moment in time. As a potential lead single for a new album… let’s just hope Ty’s got some fresher material up his sleeve for the next one.

Listen to “Ego Death” featuring Kanye West, FKA Twigs, Skrillex, and Serpentwithfeet above.

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