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.
Wolves in the Throne Room, Estuary
Set in a future reclaimed by nature, the PNW band’s latest LP balances emotive black metal against electronic flourishes to paint a vivid picture of a world defined by absence.
Caroline Rose, Gentling the Horse at the Walt Whitman Mall
Blending synthpop, alt-country, and punk, the songwriter’s surrealist vision of American suburbia in 2026 is fueled by tracks that rip and soak in the moments they depict.
Sour Widows, Sigil
The Bay Area duo confronts grief and cruelty while making space for necessary indulgence on their second LP, with producer Melina Duterte pushing them toward bolder arrangements.
Konstantinos Pappis
After a pair of EPs opened the door to shapeshifting unpredictability, Heaven Schmitt’s second LP leans into an emotive, purposefully fragmented sound that remains impossible to pin down.
Chronicling the rise and fall of a year-long fling, the influential UK indie rockers’ seventh album feels like a scattered afterthought more than an important part of the band’s journey.
The Brooklyn-based jangle-pop quintet’s aptly diaristic debut takes the form of a novella, as each track seems to correspond with a particular time in the wee hours of the morning.
The Providence-based songwriter offers a subtle vision of resplendence in the midst of an apparent lack on a record that dulls heartache and eschews melodrama.
Alexandra Levy offers another peek into her overflow of creativity with a brief set of songs spanning her career as a songwriter, making it easier to appreciate their subtle contrasts.
The Australian artist’s fifth album houses some of his most brooding songs to date, a mood that strangely sharpens his songwriting without sacrificing his melodic sensibility.
Rather than merely reveling in pop-punk nostalgia on their eighth LP, the Scranton band instead opts to reexamine moments from their past in sharper focus.
The Nashville group’s country-leaning third album is full of nuance, from the sheer array of instrumentation to its affective emotional dynamics.
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.
The Brooklyn band bring more dimension to their sound on a magnetic second record that’s framed by a mix of analog technology and Y2K aesthetics.
Penetratingly exact and proudly undefinable, Nick Llobet’s first album since expanding the project to a duo adds more definition to the sinewy, searching palette of their previous material.
The cocktail of frustration, insecurity, and lust that courses through the Brighton quartet’s buzzing and adventurous second album mirrors the trajectory of an energetic night out.
Sounding like a band well into their second decade of existence, the London-based dream-pop trio stretch each song on their debut without ever letting them overstay their welcome.
