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.
Cameron Winter, Live at Carnegie Hall
As a work apart from Paul Thomas Anderson’s colorful concert film, the Geese frontman’s piano-and-vocals-only live album still works as a marvelous still-life treat.
Meshell Ndegeocello, Synonym
Surrounded by an all-star team of collaborators, the soul artist imbues these 15 familiar pop duets with a newfound sense of weightiness, grit, and—crucially—queerness.
Wishy, Nature’s Pill
The guitar-pop group expands upon their 2024 debut with a more relaxed effort emphasizing a stronger interplay between two co-vocalists who remain a match made in college-rock heaven.
Greg Cwik
Mission: Impossible – Dead Reckoning Part One reminds us which movie stars Cruise feels most descendent from: Buster Keaton, Charlie Chaplin, and Jackie Chan.
More scandalous than a flushing toilet, Richard Franklin’s intelligently written 1983 sequel to the Hitchcock horror classic never succumbs to the clichés its forebear established.
Eulogizing Bill Hader’s black comedy series, one of the most achingly human shows of the post-Sopranos era.
Despite the occasional flash of creativity, the latest installment in the Evil Dead franchise is a drab and self-serious outlier within Sam Raimi and Bruce Campbell’s eccentric series.
The character actor with memorable roles in Saving Private Ryan, Natural Born Killers, and Heat passed away last week at 61.
Darren Aronofsky’s often-unpleasant adaptation of Samuel D. Hunter’s play is buoyed only by a beautifully empathetic performance by Brendan Fraser.
