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.
Cut Worms, Transmitter
Produced by Jeff Tweedy, Max Clarke’s fourth album tampers down the luster of past records, grounding aspects of the indie-folk songwriter’s music that once seemed impossibly pristine.
Kim Gordon, Play Me
Fully embracing the trashy SoundCloud-era internet aesthetic as she raps, sings, and shreds over industrial clatter, this is the sound of an artist who’s still inspired by the cutting edge at 72.
The Notwist, News From Planet Zombie
This folksy, brassy new iteration of the German trio excels at melodies that yearn and churn with melancholy—yet still manages something celebratory.
James Charisma
Pick your battlefield.
He shared some insights as to how the streaming service stays above the current in a changing media landscape.
The cult podcast covering true crime, conspiracy theories, and all things spooky looks ahead to a new book and more live shows.
“The Matrix” made computers cool twenty years ago. “Wick” reminds us how unnecessary they are in making a quality action film.
Zack Snyder’s too-faithful adaptation was a harbinger of things to come—not for ’80s nuclear fears, but for meltdowns by die-hard fanatics.
Forget lusting after your mother or escaping Arnold Schwarzeneggers from the future.
The comics legend talks the future of the medium, twenty-five years of “Spawn,” and creating an upcoming film with the producers of “Get Out.”
As we continue to spin out of control in an era of endless sequels and spinoffs, it’s worth taking a look back on an epic year of science-fiction movies—and remembering what made them so damn good.
