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.
Courtney Barnett, Creature of Habit
Still flatliningly deadpan, the Australian songwriter uses the back-and-forth fear of the new as a start point for further depth-diving and confession on her fourth solo album.
The Twilight Sad, It’s the Long Goodbye
The sixth album from the Scottish proponents of existential angst is centered around the intertwining duality of death and life, fueled in turn by feelings of despair, disbelief, and defiance.
deary, Birding
Sounding like a band well into their second decade of existence, the London-based dream-pop trio stretch each song on their debut without ever letting them overstay their welcome.
Mike LeSuer
The Brooklyn songwriter compiles ten healing songs that helped her make the leap from guitar to synthesizer for her latest record.
The Japanese Breakfast–directed video precedes Brooklyn’s sugariest power pop quartet’s follow-up to “Guppy.”
A CGI Andy Serkis was the only thing missing from Super Bowl LIII’s accidental homage to sixteen years ago.
Before the release of “VOL. 4 :: SLAVES OF FEAR,” Jake Duzsik talks us through the many phases of his experimental noise rock band—and the single aesthetic that unifies them.
The St. Louis–spawned fourpiece tease their Exploding in Sound debut.
Somehow lost in the shuffle of Conor Oberst and Phoebe Bridgers’ new release is the duo’s enigmatic chat with a made-up-sounding interviewer, which served as the record’s press release.
Hey, did you hear Harlem’s back? The Tucson–bred garage-rockers who gave us such jangly classics as “Gay Human Bones” and…
With the classic adventure series now freely available to everyone with their parents’ login, let’s take a moment and think about how incredibly bizarre these movies really are.
The Austin psych rock group’s Dan Auerbach–overproduced third record signifies an end to regional music scenes and adherence to aesthetic.
Any man can play guitar—but here are five men who are actually pretty good.
With the release of the two groups’ first collaborative recording, the recent tour mates take their already-public friendship to the next level.
The illustrator and comic book artist walks us through his vision of a world that’s both musical and anti-Seussical.
A long overdue re-examination of the overt sociopolitical themes and genre revisionism of Chris Columbus’s classic vigilante thriller.
Ten of the most undeniably positive—and surprisingly palatable—moments music, film, and the world of memes had to offer.
An investigation into the only category of music entirely defined by its constricting censorship.
Kennedy Ashlyn walks us through her recent West Coast mini-tour with a photo diary.
On Lillie West’s debut for Hardly Art, her recent sobriety and a newfound gratitude for life stand resiliently among Chicago’s freaky music scene.
The Wolf Parade cofounder sends off his latest side-project with his most experimental record to date—and a promise to dive back into the unknown.
Jilian Medford shares ten tracks about crushing (and getting crushed by) crushes that helped inspire Crush Crusher.
If you squint, Panos Cosmatos’s latest psychedelic feature is actually a lonesome martyr’s fantasy to save heavy metal from the Reagan administration’s threatening anti-pornography policies.
