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.
The Creem, A Taste of Cherry
On their collaborative debut, Islands’ Nick Thorburn and Ratatat’s Mike Stroud mostly adhere to a conventional pop format and rarely deviate into either artist’s inherent weirdness.
Charli XCX, Music, Fashion, Film
The pop star’s guitar-strewn reset is the stuff of savage, searing power-pop with primal, minimalist rhythms and a hint of sleek, sizzling electronics.
The Strokes, Reality Awaits
With their first album in six years, the influential garage rockers have defiantly moved on from slacker apathy in favor of a synthier era defined by an unexpected foray into the political.
Kyle Lemmon
The songwriter’s earliest soul and jazz influences can be found swirling throughout her third album, which also expands into the realms of hypnotic electronic music and alt rock.
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.
Teetering between the influences of ’80s new wave and ’90s alt-rock, the pop star’s third album is a journey from jubilant lovesickness to a fatalistic collapse into romantic decay.
On his 20th album, the octogenarian pop-rock architect builds a time machine out of scuffed acoustic guitars, warm tape hiss, and the kind of indelible melodies that cast a long shadow.
By returning to the rustic environment that birthed their mid-career peak, the Danish post-punks rekindle their core artistic flame with a masterclass in controlled chaos.
Dave Grohl focuses on the objects in life that keep us grounded when times are just plain weird on the band’s 12th LP, which is less a total reinvention than a vital recalibration.
In our latest digital cover story, Lindsey Jordan discusses recovering from vocal surgery to find a new voice on her third album, Ricochet, as well as the music and films that inspired her along the way.
The pop-country songwriter understands the human weight of the American South’s emotionally rich tableau of high-speed heartbreak and low-light bars, as demonstrated on a resilient second album.
Thundercat
Ahead of the release of his highly collaborative new album Distracted, Stephen Bruner talks getting by in the digital age.
The sequel to the 2022 Album of the Year GRAMMY winner is another radical genre shape-shift for a pop star who refuses to settle for just another EDM album.
Creative director Mary Banas and photographer Lexie Alley examine the Tansy House aesthetic and various influences that slink out of Mitski’s eighth album like playful cats.
A heavier fraternal twin to 2024’s Light Verse, Sam Beam’s unlikely eighth album hums through the speakers like a quiet, sudden revelation.
The Manchester quartet’s second album sees them screaming personal and political crises into the void over a techno noise-rock kaleidoscope that arouses the cyber-punk apocalypse.
Arriving in celebration of the 20th anniversary of The Greatest, this EP excavates the past with a weary, newfound wisdom—like a ghostly transmission from a parallel timeline.
With the help of producer Cate Le Bon, the South London quartet’s third album sands down their jagged post-punk edges into smooth, surreal pebbles of magical realism.
This concert album is a striking time capsule of a veteran rock group in complete control as a unit during their recent global tour, cutting stadium bombast with a gospel reverence.
The SNL, Wednesday, and Portlandia star takes us through his favorite driving spots, tasty taco eats, and an ordinary work day in the City of Angels.
Laura Burhenn’s fifth album strips the project down to its piano core as she revisits old songs from her discography through a more introspective lens.
The Denton folk-rockers’ second album since returning from a hiatus flits effortlessly between psychedelic rock, folk, and hazy jazz as Eric Pulido continues to steer the ship forward.
After recent big swings across the pop plate, Florence Welch’s gothic sixth album gets cerebral and probing as the songwriter proves herself to be more in touch with her emotions.
