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.
Cola, Cost of Living Adjustment
While they continue to excel at lo-fi post-punk, the Canadian outfit’s third album mixes the angularity and simplicity of their previous LPs with something much lusher and richer.
Broken Social Scene, Remember the Humans
The amorphous Canadian supergroup returns after nearly a decade to unearth a brand new yet wholly familiar artful rock sound with a surprising amount of momentum behind it.
Tom Petty & the Heartbreakers, Live at the Paradise Rock Club, 1978
Recorded via two-track by WBCN-FM Boston in time for the band’s sophomore album, this live LP is a rare contact high connected to the sage rage of their earliest punk-rock days.
Margaret Farrell
“FLOWERS for VASES / descansos” is out at midnight.
“Pain Is Beauty,” indeed.
The supergroup, including Phoebe Bridgers and Lucy Dacus, jumped on the track off Baker’s forthcoming album “Little Oblivions.”
Younge releases the title track of his forthcoming album and announces a multimedia project.
Alicia Bognanno covers “Dry” from Harvey’s 1993 album “Rid Of Me.”
How everyone from Phoebe Bridgers and Soccer Mommy to Lady Gaga and Taylor Swift found escape from this hell year in fantasy.
Jordana Nye continues to experiment with crunching rock, hip-hop, and jazz into enticing three-minute morsels.
The classic rock–indebted LP is a delicious blend of sugary pop and cathartic rock.
From her sharp delivery and bite-me bravado, Meg flexes at 150 percent on her debut album.
Felix Walworth’s third LP documents some of the most massive and complex sounds they’ve ever dreamed up.
Ben Shemie and Liam O’Neill talk covering Zappa, becoming a conceptual band, and the restrictions of the LP format.
The tracks on the Big Thief vocalist’s double album are warm and spacious with high ceilings.
Morby’s sixth album is both cosmic and terrestrial, with tracks seeped in death and change.
The two songwriters talk collaboration, inspiration, and fighting the good fight.
This debut LP illustrates enthralling production, thoughtful suspicion, and poetic compassion.
“Hannah” is a capsule of acceptance, frustration, and growth.
The Lawrence brothers fail to maintain any exciting spark that existed on their 2014 debut.
McEntire’s sophomore record is an album to escape into without being a delusional utopia.
The R&B songwriter’s album is for “the women who like to say what’s on their mind.”
“Skullcrusher” is an exciting, strange collection of songs from a new songwriter who showcases immense promise.
