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.
Truck Violence, The Weathervane Is My Body
The Montreal rockers blend sludge metal and raw folk on a second LP of visceral impact, doom-laden ambition, and violent twists and turns that often lacks lucidity.
Del the Funky Homosapien, Future Development [Reissue]
Its wily wordplay and metal-to-rubber production aided in making the Bay Area rapper’s third album something that was out-of-time back in 1997, and handsomely timeless now.
Butthole Surfers, After the Astronaut
The noise rockers’ long-shelved follow-up to Electriclarryland arrives as a fascinating artifact of a band caught between self-sabotage and the lure of commercial pop accessibility.
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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