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.
Kelsey Lu, So Help Me God
On their second LP, Lu taps Jack Antonoff and Yves Rothman to co-produce a fascinating tapestry of pop, R&B, electronica, classical, folk, and everything avant-garde in between.
Genghis Tron, Signal Fire
The cacophony of ideas on display on the transhumanist metal band’s dystopian fourth album reflects the relentless, manic digi-present we find ourselves in today.
Vince Staples, Cry Baby
On his first release away from Def Jam, the emcee spends more time looking outward than inward, peering into a communal politic with more rock to his roll than ever before.
Margaret Farrell
The remix follows the trio’s quarantine-recorded “Remote” EP.
The track is featured in the Shaka King–directed film “Judas and the Black Messiah.”
“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.
