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.
L’Rain, Fata Morgana
Taja Cheek’s complex fourth album pushes the boundaries of genre to create something shimmering and otherworldly.
Kiwi Jr., Blowin’ Up
On an emotionally explosive fourth album of catchy quips about crime scenes, the Toronto jangle-pop band shifts from light-hearted procedural stuff to grisly noir.
Phoebe Bridgers, Lost Weekend
Bridgers’ voice as a songwriter has only grown more resonant on her first solo LP in six years, characterized by a delicate dance of amorous love and crippling grief.
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.
