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.
Shearwater, The New World
Jonathan Meiburg’s lyrical approach flits between apocalyptic soothsaying and naturalist poetry on his band’s ambitious and worldly eleventh album, which thrums with field recordings.
Ween, 12 Golden Country Greats [30th Anniversary Deluxe Edition]
Embellished with over 20 unreleased demos and session outtakes, the brothers’ 1996 foray into country was as devoted to a single sound as they would ever be.
REZN, Cycles in the Infinite Dream
After a decade together, the Chicago psych-doom quartet craft a second album for Sargent House that’s as deadly serious in story as it is execution.
Sadie Sartini Garner
In a year that’s gone off the rails, “Ohms” proves the alt-metal rockers’ ultimate act of resistance.
The author and philosopher (and former professional inline skater) tells us what it is to be awesome, and how to live with the power of awesomeness inside you.
In the post-Trump world, everyone has an obligation to be political. But that doesn’t mean that we still don’t want to dance. Miguel and Nadya Tolokonnikova are figuring out how to do both.
The quintessential rock-and-roller died Monday at the age of sixty-six.
From 2015’s “Dust and Disquiet.”
Like Jonny Greenwood and Shye Ben Tzur’s “Junun,” this is music that uses rhythm and repetition—and strategic departures from both—as ways of generating and shaping power; it is a suggestion of community.
Great record collectors make great records. Uh, sometimes.
Hundred Waters and Moses Sumney’s fourth-annual gathering reimagines what a music festival can be.
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Their audience didn’t understand them. Their label didn’t want to talk to them. Not to worry: For the Beastie Boys, it was a brand-new morning.
The confessional Nashville experimentalist delivers a pair of standouts from last year’s The Generation of Lift EP on a gray Icelandic morning.
Comedy—and particularly political comedy—only reinforces our bubbles. So what?
Tinariwen / photo by Marie Planeille
The Tuareg guitar masters return with “Elwan” on February 10.
“Throughout our history the state has presented the rationale that freedom is not free…. This song is an anti-thesis to that ideological fallacy.”
NE-HI / photo by Bryan Allen Lamb
The Chicago quartet head out of the garage in search of whatever comes next.
From québécois kraut-funk to the return of two of indie rock’s most celebrated sidemen, these are the unsung albums we’re most excited for this year.
photo by Stevan Alcala
The Austin ten-piece get an assist from the production work of Chris “Frenchie” Smith.
Futurebirds / photo by Anthony Pidgeon
The latest from the Oregon festival’s 2016–2017 season.
The Silver Lake Chorus / photo by Lehua Noelle
The LA group take on Sufjan Stevens’s frosty classic.
photo by Christophe Pastel
The African electronica auteur’s semi-self-titled album Alan Abrahams dropped in August.
photo by Brian Pritchard
The Fresh & Onlys frontman is releasing “Luck Man” on January 27.
