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.
Morrissey, Make-Up Is a Lie
It isn’t always hard to trick ourselves into remembering Moz as he once was on this return-to-form solo LP as he matches mischievous observations with a winning brand of melancholy pop.
Bill Callahan, My Days of 58
Well-observed, a bit absurd, and wholly singular, this “hobo stew” permits each instrument and each musical idea to embrace Callahan’s discursive lyrical and structural style.
Flying Lotus, Big Mama
A hodgepodge of electronic textures, genres, and styles, the artist’s proper debut for his own Brainfeeder label feels improvisational despite its meticulous craftsmanship.
Margaret Farrell
Shane Lavers captures the awe and unease of humanity’s impermanence on his debut album of dissociative dream pop.
Marie Ulven’s revved-up sophomore LP is both fun and uncomfortable, a poperatic portrait of the artist fucking up and learning in real time.
Kieran Hebden magnifies his newfound dexterity with rave-ready recordings and ambient ballads while maintaining a familiar sense of consistency.
With only two songs currently to their name, the London dance-punk experimentalists discuss the infinite possibilities their future might hold ahead of taking the stage at FLOODfest this week.
The Belgian musician’s solo debut interprets loss through electronic sounds as Pupul processes new sensations experienced in his late mother’s homeland of Hong Kong.
The 66th edition of the ceremony was packed with memorable performances, powerful speeches, and questionable wins.
Their third full-length in four years captures the Toronto garage rockers at their most vigorous and imperfectly comforting.
With his self-titled third album arriving this week, the post-punk revivalist shares how everything from a lingering fear of death to a diverse set of musical influences found their way into the LP.
Nearly three decades after its release, the second and final album from Poly Styrene’s formidable punk troupe gets a new life—although its prophetic lyrics prevent it from ever falling out of relevance.
The English alt-R&B musician’s timeline-warping sophomore release is a celebration of connection through movement.
With the Canadian group’s LP Who Will Cut Our Hair When We’re Gone? turning 20 over the weekend, we look back on how the cult project was not only fantastical, but also prophetic.
Jemina Pearl and Nathan Vasquez reflect on the healing journey that resulted in the Nashville punks’ third record—and first as full-fledged adults—Mommy.
With their first release on 4AD, the curious quartet tease gripping fragments of their unfathomable world with their strangest and most diverse-sounding project to date.
Aluna / photo by divisuals
The producer/songwriter breaks down the themes of her sophomore LP MYCELiUM while advocating for the representation of Black women in EDM.
The songwriter and Euphoria actor’s sophomore record feels more grounded and mature than his debut without losing his no-bullshit charm.
A video for new track “Devotion” lands before the LP drops tomorrow via Transgressive.
The OST drops July 21 to coincide with the movie hitting theaters.
The follow-up to 2020’s What Could Possibly Go Wrong is out July 7 via Columbia Records.
PTM’s new album Chris Black Changed My Life is out June 23 via Atlantic Records.
The six-song project follows last year’s No Rules Sandy LP.
