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.
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.
Sierra Spirit, Rodeo Clown
On her latest EP, the Native songwriter blends personal and ancestral histories with soft-plucked steel string and powwow drumming to create a shimmering portrait of her heritage.
Warning, Rituals of Shame
The pummeling hypnotism of the doom-metal band’s first new material in 20 years still feels perfectly matched to Patrick Walker’s pained howls and Vantablack-hued emotions.
Kevin Crandall
Their debut collaboration stitches the poet/emcee’s potent oratory chops through the metal group’s free-form sounds to create an avant-garde epic concerning human rights, violence, and empire.
The Zambian-Canadian noise-rapper returns from a brief hiatus with an existentialist exploration of death, violence, and, ultimately, love, a textural letter to the downtrodden and the hopeless.
The Saba co-signed DMV rapper shares a boom-bap sermon to follow up his 2023 debut album Spleck.
Graham Jonson also provides some insight into the inspirations and processes that informed his upcoming album, I Heard That Noise.
An intoxicating blend of Y2K aesthetics and bubblegum pop, Black’s second album is a celebration of her musical evolution from internet laughing stock to hyperpop powerhouse.
Ahead of his new LP, we also press Will Wiesenfeld about being sampled by Charli XCX and the assessment that he’s getting “hotter and weirder” with every release.
The LA-based artist discusses the self-deprecation, imposter syndrome, and, ultimately, self-confidence of her debut album The Jester, which details her struggle to break into the music industry.
On his latest EP, the Detroit musician leans into his hip-hop roots while exploring what it means to love and resist over four quick-hit tracks enveloped by marijuana smoke.
Politically punk while sonically dance music, The B-52’s vocalist’s first solo record in nine years is a musically and thematically diverse scattershot of personal reflection and activism.
The 11 rock-out earworms chronicling depression and anxiety on the Tacoma-based group’s second LP are well worth the headache.
The Filipina-English artist’s Rick Rubin–produced third album provides a brutally realist introduction to the emotional maturation she’s undergone in the two years since her last LP.
On her studio debut, the Bronx rapper and it-girl of Gen Z’s Y2K aesthetic revivalism gives the impression of a young artist exploring her range.
The West Coast emcee shares how years of observing his TDE labelmates helped shape his new record, which was five years in the making.
On his final release with Def Jam, the Long Beach rapper builds upon his recent output to hone in on the darkness of his past while offering a glimpse into his healing process.
