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.
Bleachers, Everyone for Ten Minutes
The bigness that Jack Antonoff holds on his band’s latest album is dedicated to the human spirit and the hope of something better—and rockier—for our future.
Lowertown, Ugly Duckling Union
The NYC duo return to their DIY roots on their creatively unbridled second LP, turning a highly unusual concept into something rather heartfelt and wonkily majestic.
Hammock, The Second Coming Was a Moonrise
The Nashville veterans blend the understated melancholia of dream pop with the more dramatic scale of post-rock on their latest album with a nice push-and-pull effect.
Margaret Farrell
Sophie Allison on how she’s handling being stuck inside and her post-release reflections on “Color Theory.”
Australian singer Martha Brown explains how familial research and a move to LA inspired her glittering debut.
The celebration of indulgence contended with Deborah Dugan’s firing and Kobe Bryant’s tragic death.
From peachy to rotten, we highlight seven tracks from 2019’s produce section.
Kim’s dissatisfaction with and aggression toward toxic American capitalism are burned into this album.
“xx” is as melancholic as ever a decade after the London trio introduced themselves to the world.
The heart of “IGOR” deals with lust and obsession—a spectrum of desire requiring listeners to think long and hard about the reality of a relationship.
The British singer-songwriter’s debut deals with mental health and coming to terms with the limits and manipulations of our wellness industry.
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Although the pressure to be politically correct and proportionally progressive was strong, the live performances championed female talent and admiration.
The singer-songwriter and LA native talks about her new album “Quiet Signs” and surviving on an emotional battlefield.
Women are using music to detail exactly how they want it (NSFW). We’ve compiled twelve of the best examples.
On “Evil Genius,” Gucci’s raps about his past are piled with repetitive tropes and uncreative imagery.
Finding a balance between joy and self-seriousness, this is the quartet’s finest and most decadent album to date.
“Aviary” walks like a duck and talks like a duck, in album terms, anyway, but the more you pay attention, the less it fits in.
The music industry, like history, repeats itself, which is why Greta Van Fleet feels deceptively refreshing—at least to talk about.
The American rap group—or boy band, if you ask them—have found the right balance of vulnerability and abrasive freneticism.
“Sweetener” is a pop remedy for anxiety, while also explicitly detailing its crippling nature.
Ross from Friends’ debut indulges in humor and the minutiae of legacy, handling the details with care.
“Hive Mind” solidifies The Internet’s sound as a newly formed molecule, sharing skills and attributes like electrons in a covalent bond.
More playful than cannibalistic, Jenny Hollingworth and Rosa Walton want you to join them in the supermarket of their dreams.
