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.
Julianna Barwick & Mary Lattimore, Tragic Magic
Pairing early modern harp and vintage analog synths, the duo cope with disaster by forging soothing atmospheric compositions fueled by their unique creative connection.
Westside Cowboy, So Much Country ’Till We Get There
The buzzy Manchester group’s new EP doubles down on affability with five tracks of straightforward indie rock coursing with charm and easy-going, edgeless quirks.
Xiu Xiu, Xiu Mutha Fuckin’ Xiu: Vol. 1
These covers capture the broad spectrum of artists who’ve inspired Jamie Stewart over the past 24 years—and prove that Xiu Xiu is able to even make Robyn sound unwaveringly dark.
Dustin Krcatovich
Allison Crutchfield, Kyle Gilbride, and Jeff Bolt were just getting started when Swearin’ first called it quits. But then they said fuck all that and made something new.
From his work in his local hardcore scene to his gentler solo efforts, the West Bay riffer continues to do things his own way.
One of the world’s preeminent record collectors talks shop on the occasion of his new comp for Mexican Summer/Anthology, “Feel the Music Vol. 1.”
Before peeling off to Joshua Tree to play at Desert Daze, Pedrum Siadatian talks the art of making covers.
The architect of modernist music and his classically trained son take their playful improvisation to Joshua Tree.
Eduardo Williams’s latest film reads like Linklater’s “Slacker” for the global post-Internet age.
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