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.
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The LA group’s debut is an extremely stylish backdrop with no magnetic centerpiece, a fascinating—and even useful—snapshot of indie rock’s current preoccupations.
Fat Dog, Cancel Me (I’m Tired)
Still in their puppy years, the London dance-punk experimentalists’ second LP reflects our world at a time when chaos reigns and no one seems to be bothering to snap a leash onto its collar.
Bob Dylan, The Rolling Thunder Revue: The 1976 Live Recordings
Capturing 22 different shows on the titular mid-’70s tour, each torrid, angst-ridden live take on this 39-disc collection sounds more manically driven than the gig before it.
Leah Johnson
The Chicago duo pull the strings taut on their emo-pop debut, adding piano passages, guitar theatrics, and other flourishes to their established college-radio-rock sound.
Reuniting with original member Joe Keery, the Chicago-based psych-rock band finds a new direction in the woods of Indiana with their rustic fourth album.
Both brighter-eyed and harder-hearted, the LA quartet return with a third LP of full-bodied psych-shoegaze which settles deeply into Kenny Becker’s cataclysmic transitional life period.
The songwriter’s debut is carefree, sleazy, fundamentally arresting dance music—a multi-sensory circus serving to wallpaper the halls of dance-pop history with neon, acid-tinged nonsense.
Clashing with expectations, the rowdy Australian duo dive into an older, deeper, more refined sound with this EP that positions them as stronger musicians and storytellers.
Production from Kenny Beats heightens the LA trio’s signature gloominess on their third album of mournful 19th century gothic narratives and mirthful 1980s horror nostalgia.
Channeling Ziggy Stardust’s glam transcendence, Will Toledo resurrects the album as a grandiose narrative vehicle while marking his valiant stride into the rock canon.
The cult UK quintet find a sense of clarity in their IDM-pop sound with introspective, chromatic, moving pieces on their most intentional, polished production to date.
The infectious Boston trio’s sixth album adds some complexity to their signature jangle with darker, rougher textures, though its lyrics don’t always live up to the music’s maturity level.
Boasting lush electronic soundscapes and complex themes of modern dystopia, the Hull quartet’s third album feels more nuanced than their prior indie-rock discography.
Ahead of their reunion tour, the cult indie-pop band resurrects lost classics from the bittersweet era of nostalgia that encircled their eponymous 2009 debut.
Recorded direct-to-acetate over the summer at Jack White’s Nashville label HQ, the NYC post-punk institution’s new live LP offers listeners a spot at the barricade.
The Swedish quartet bare their teeth on their third EP as they tear through five songs about frustration and resistance, aided by grungy production from Alex Farrar.
