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.
Allison Russell, In the Hour of Chaos
Clearly written in the pressure cooker of Trump’s America, the artist’s community-oriented third album battles the darkness with an at-times overwhelming sense of optimism.
The Rolling Stones, Foreign Tongues
The Stones come as close as they ever will to reckoning with their twilight years on a surprisingly effective 25th LP that finds them bringing a fresh spark to their signature sound.
Kelela, New Avatar
The songwriter’s earliest soul and jazz influences can be found swirling throughout her third album, which also expands into the realms of hypnotic electronic music and alt rock.
Mike Hilleary
In our latest digital cover story, Ben Gibbard and bassist Nick Harmer situate the heartbreak and hope within the band’s newly released 11th album, I Built You a Tower.
The first-time filmmaker discusses his personal connection to the critic’s work and why Christgau’s wife Carola may be the real star of the new doc premiering at SXSW.
Nanna Bryndís Hilmarsdóttir discusses marching on with the Icelandic band’s fourth album, All Is Love and Pain in the Mouse Parade.
The Kentucky-based songwriter digs deeper into the systems of belief that informed her latest collection of Americana music, Planting by the Signs.
Tegan Quin discusses the sisters’ new album Crybaby, their new TV series High School, and surviving another set of overlapping press cycles.
With her debut EP “Faking My Own Death” out this Friday, the songwriter discusses making the leap from Texas to NYC, recording with Lord Huron, and becoming a cowboy.
In our latest digital cover story, Baker dives into the experiences that led to her new album “Little Oblivions.”
The songwriter dishes on Booker T’s anecdotes, the inspiration of Willie Nelson’s “Stardust,” and finally going solo.
The songwriter discusses what she describes as her treatise on having a personal life during the apocalypse.
The Alabama songwriter talks her new record and the challenges of being sober in the music biz.
In our first digital cover story, the duo discuss the new album, establishing distinct identities, and how music saved their relationship.
The songwriter on the quick evolution from her 2017 breakthrough to this month’s “Anak Ko.”
Frightened Rabbit at Lollapalooza 2016 / photo by James Richards IV
Along with Julien Baker + Manchester Orchestra’s Andy Hull, Grant remembers Scott Hutchison’s brutally honest artistry.
On her debut “Beware of the Dogs,” the Aussie singer-songwriter addresses the progress and pain of #MeToo.
The “Our Band Could Be Your Life” writer has a new book, “Rock Critic Law,” which lays out 101 of the tropes that lazy music writers can’t seem to help but fall back on over and over. But he isn’t mad—he’s just trying to make writers better.
With “≠,” the producer known as DSARDY aims to address technology’s dehumanizing effects by enlisting the help of the industry’s preeminent humans.
After the election, the Richmond artist threw out the introspective album she’d been working on and started over. What she made next was music for everyone.
When he’s not busy playing in one of the most beloved indie bands around, Chris Funk is looking for the stories that get to the core of what drives musicians.
Across all of “Turn Out the Lights,” Baker doesn’t pull a single punch.
As much as “Beast Epic”‘s music feels like a look back with a head full of experience, it doesn’t stop Sam Beam from keeping his lyrical gaze on what’s ahead of him.
