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.
Converge, Hum of Hurt
Released just a few months after the more metal-leaning Love Is Not Enough, the Boston group course-corrects by balancing the scales with hardcore on their second LP of 2026.
horsegiirL, Nature Is Healing
The debut from Berlin-based enigma Stella Stallion is a dance record filled with synths, heavy bass, and the traditional beeps and bloops—yet somehow it also feels organic and alive.
Bedouine, Neon Skin Summer
Flowing out of a period of stillness, Azniv Korkejian’s fourth LP dusts up a world of childhood innocence as it diverges from the folk-pop tradition—and her own catalog—of lovelorn intensity.
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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