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.
Various artists, Passages: Artists in Solidarity with Immigrants, Refugees, and Asylum Seekers
These unheard tracks from Dirty Projectors, Daniel Lopatin, and more are hushed and raw, all crafted with the idea of evoking a sense of home to highlight those whose own are at risk.
HEALTH, Conflict DLC
The noise-rockers’ sixth LP is a full-on rush of nihilistic energy, a shattered disco ball serving as the perfect encapsulation of a world decimated by capitalistic greed at the expense of humanity.
Fucked Up, Year of the Goat
Made up of two nearly half-hour tracks, the hardcore experimentalists’ latest is artistically commendable and consistently intriguing, even if it tends to test the listener’s patience.
Melanie Robinson
Guillermo del Toro’s adaptation is a film made not just by a fan of Mary Shelley’s work, but by someone who the story has lived inside of for an entire lifetime.
Mary Bronstein’s second feature film is eerie and dreamlike with wonderful moments of dark humor that permeate its undercurrent of dread.
In our latest digital cover story, the London quartet discuss coming into their own on their fourth album and major-label debut, The Clearing.
Michael Shanks’ directorial debut subverts expectations in hilariously inventive ways.
The film’s cinematographer discusses working with Ari Aster and an “electrifying” cast, as well as focusing on only shooting scripts with strong messages.
The third film in Danny Boyle’s unlikely zombie franchise manages a return that’s ambitious, bold, and visually stunning, though not without some minor flaws.
Grab your peach schnapps, put on some Air, and meet us under the bleachers—we’re talking about Sofia Coppola’s masterful feature directorial debut in honor of the film’s anniversary.
The film stands head and shoulders above many celebrations of music-as-ceremony like it in a lake of tantalizing fire.
Entering its third season after a Valentine’s Day premiere, the Showtime series—as with many suboptimal situations—descends into cannibalism.
Gia Coppola’s new Pamela Anderson–led feature is much more than just a meditation on aging under harsh stage lights—although it is undeniably also that.
The Challengers director’s second film of 2024 brings a much needed excess of style, humor, and sexuality to an otherwise tepid William S. Burroughs adaptation.
Revisiting the profundity and shortcomings of the bayou-soaked buddy-cop crime-drama a decade later.
The Minnesota-based indie-pop quartet walk us track by track through their impeccably titled fourth record, out now via Psychic Hotline.
The final installment of Ti West’s slasher trilogy features moments of grotesquery, spectacle, and levity—but most importantly, it’s damn fun to watch.
With his second album out now, Sven Gamsky talks collaboration, fame, and knowing when a song’s reached its final form.
Descending upon LA this Thursday and running through May 12, here’s a guide to some of the hidden gems among the event’s lineup.
With Beyoncé’s yeehaw era launching this week, we explore the genre’s long-suppressed and -overwritten history of Black performance.
