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.
Minnesota Artists United Against ICE, Melt ICE
This gigantic comp album featuring 110 Minnesotan artists raising funds for immigrant communities terrorized by ICE may also happen to be where you find your new favorite band.
Morrissey, Make-Up Is a Lie
It isn’t always hard to trick ourselves into remembering Moz as he once was on this return-to-form solo LP as he matches mischievous observations with a winning brand of melancholy pop.
Bill Callahan, My Days of 58
Well-observed, a bit absurd, and wholly singular, this “hobo stew” permits each instrument and each musical idea to embrace Callahan’s discursive lyrical and structural style.
Michael Brooks
The band’s first album for Saddle Creek is a sprawling odyssey of haunting dissonance and blissful euphoria.
The “frog rock” quartet’s debut is an unforgettable collection that blurs the lines between math rock, art pop, and jazz.
The pair of emcees sound more in sync than they did on the debut LP, released just six months ago.
“Oxnard” isn’t afraid to show admiration for G-funk, and many of its best moments come from the more West Coast–inspired cuts.
“Alone at Last” elicits the kind of place that only exists in dreams, a sort of chrysalis from all the chaos surrounding us.
Lenker’s haunting vocal acrobatics will linger with you long after the album is done.
The end of the world is merely a natural evolution, and “Thunder Follows the Light” is about basking in the calm before the chaos.
Mac Miller has been open about his struggles in the past, and “Swimming” is rooted in trying to find a way to stay afloat.
A collection of unfussy, straightforward, mid-tempo rockers that revel in their uniformity.
