Celebrate our tenth anniversary with the biggest issue we’ve ever made. FLOOD 13 is deluxe, 252-page commemorative edition—a collectible, coffee-table-style volume in a 12″ x 12″ format—packed with dynamic graphic design, stunning photography and artwork, and dozens of amazing artists representing the past, present, and future of FLOOD’s editorial spectrum, while also looking back at key moments and events in our history. Inside, you’ll find in-depth cover stories on Gorillaz and Magdalena Bay, plus interviews with Mac DeMarco, Lord Huron, Wolf Alice, Norman Reedus, The Zombies, Nation of Language, Bootsy Collins, Fred Armisen, Jazz Is Dead, Automatic, Rocket, and many more.
Kelsey Lu, So Help Me God
On their second LP, Lu taps Jack Antonoff and Yves Rothman to co-produce a fascinating tapestry of pop, R&B, electronica, classical, folk, and everything avant-garde in between.
Genghis Tron, Signal Fire
The cacophony of ideas on display on the transhumanist metal band’s dystopian fourth album reflects the relentless, manic digi-present we find ourselves in today.
Vince Staples, Cry Baby
On his first release away from Def Jam, the emcee spends more time looking outward than inward, peering into a communal politic with more rock to his roll than ever before.
A.D. Amorosi
The ambitious rapper/producer opens up about his legacy and family.
Cellist Maya Beiser and pianist Mike Garson discuss translating the artist’s work into something new.
Though he suspects he has the virus, EOB’s record remains on track for release April 17.
This album offers up some of his best performances, wryest lyrics, and most experimental arrangements in years.
The French artist is among the most influential of the disco era, and one of dance music’s first trailblazers.
A show of unity between Texan soul makers.
The sessions that fill this box are those where Davis left flirty, speedy bebop behind for slow, hard bop.
Like the gluttonous Reagan era in which it was born, the new “1999” is explosively opulent and appropriate for the Trump moment in its excess and mess.
Jim’s son Chris and producer Al Dobbs give their thoughts on the songwriter’s disappearance and why his music lingers on.
In some ways, it’s more like Adam Cohen’s love letter to his father’s artistry than a final statement from the late poet.
Dylan revered the outlaw Cash, and Cash admired the wordsmith Dylan.
Three albums in, Taylor Hawkins and the Coattail Riders feels like a vacation for the Foo Fighters drummer.
The iconic rocker goes home to Detroit for a different brand of shock and awe.
While most legacy rockers are hitting the road rather than bothering to write new music, Young refuses to stop inventing.
While the original albums sounded surprisingly grey, this curation of solo output is hotly in-the-red, remixed and boldly remastered.
Nick Cave moves across his most lush and lovely melodies yet in a voice that burrows deeper than ever before.
The Blondie frontwoman on new memoir “Face It,” how the internet has changed music, and what’s next.
Digging into the brand new Giles Martin re-release of the iconic album on its fiftieth birthday.
After a two-year writing process, the funkadelic Atlanta hip-hop duo’s debut is here in all of its natural glory.
When he’s not writing experimental synth-folk, Roberto Carlos Lange is breaking new ground in the world of collaborative visual art.
