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.
The Garden, Bootleg
“Thrilling” is putting the twin duo’s sixth album gently, as Wyatt and Fletcher Shears refuse to sit still throughout 14 superstitious tracks of dark anarchy and paranormal possibility.
Scritti Politti, Cupid & Psyche 85 [Deluxe Edition]
Seduced by the sound of sleek American R&B of the early ’80s, Green Gartside fashioned the tone of his band’s second album around irresistible melodies and crisp drum programming.
Allison Russell, In the Hour of Chaos
Clearly written in the pressure cooker of Trump’s America, the artist’s community-oriented third album battles the darkness with an at-times overwhelming sense of optimism.
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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