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.
Sleep, Hemispheres
Touching back down from the depths of smoke-space to release their first album in eight years, the newly reconfigured stoner-metal titans offer myriad psychedelic delights.
Immersion, What Is Lost Will Return
Colin Newman and Malka Spigel’s latest album of hypnotic krautrock is full of melody, persistence, gravity, and power—it’s perfect for any old or new highway dream.
case / lang / veirs, case / lang / veirs [10th Anniversary Edition]
A 2016 meeting of the minds that’s grown to be an indie-folk classic, Neko Case, k.d. lang, and Laura Veirs revisit their dynamic collaboration with a trove of bonus live material.
A.D. Amorosi
The Cornell estate gifts us with 10 subtle covers focused on melodic gems with a soft ensemble as backing.
The filmmaker talks profiling MacGowan, Johnny Depp’s role in the project, and peroxide-haired ’80s punk.
By his lonesome, Richard H. Kirk is still making endearingly intrusive electronic noise with nagging catchiness in its subtle hooks
The Tool and A Perfect Circle frontman and bandmate Carina Round talk the band’s latest record, “Existential Reckoning.”
What we’re excited for on the last weekend of RSD’s pandemic-necessitated four-part event.
Jarvis Cocker, at his home in the Peak District, UK. June 17, 2020.
Tom Jamieson for The New York Times
In support of his new concert film, Cocker recalls his slow adaptation to live performance and explains his unexpected obsession with caves.
No one’s excesses are as glorious and ornate as Elton John’s.
This recording of Cave’s tearful solo performance offers warmth, elegance, and smart solace.
The reissue of Costellos’ maximal-overdrive third LP manages to sound crisper than its original recording.
Khan’s jazz album is a logical continuation of the merry-making avant-garde that defines every other KK record.
“Knives” is the sound of a pre-pandemic band going for all the weird gusto they can.
The incendiary music-making trio from Colombia’s Caribbean coast fuse Afro-house and Indigenous rhythms with a frank, humanist political stance.
The animated four-piece host the wildest, most guest-heavy apocalyptic party since “This Is the End.”
What we’re excited for on the third weekend of RSD’s pandemic-necessitated three-part event, ahead of its November Black Friday finale.
The industrial hip-hop group’s allegorical monsters are all too real on their latest LP.
Though recorded in a pre-pandemic setting last winter, “Letter to You” feels unusually safe.
The Kentucky-born-and-bred singer-songwriter is shutting down small-minded prejudices.
Garzón-Montano has created one of the most thought-provoking and atmospheric R&B albums of 2020.
The “Gimme Some Truth” box makes Lennon’s solo output sound better, brighter, and of a piece.
The mostly vocal album plucks from all that made the Sonic Youth dynamic so prickly and daring.
