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.
Kelsey Lu, So Help Me God
On their second LP, Lu taps Jack Antonoff and Yves Rothman to co-produce a fascinating tapestry of pop, R&B, electronica, classical, folk, and everything avant-garde in between.
Genghis Tron, Signal Fire
The cacophony of ideas on display on the transhumanist metal band’s dystopian fourth album reflects the relentless, manic digi-present we find ourselves in today.
Vince Staples, Cry Baby
On his first release away from Def Jam, the emcee spends more time looking outward than inward, peering into a communal politic with more rock to his roll than ever before.
Mike LeSuer
The Philadelphia-based artist discusses her band’s new album “Like a Stone” and her dedication to songwriting.
Michael Caridi’s post-LVL UP project has expanded to a four piece, as heard on the dual single out today via Double Double Whammy.
Roddy Bottum and Joey Holman list 16 tracks that match the queer affection of their new debut record.
The new comp demonstrates just how comfortable Deathbomb Arc’s vocalists are working over borderline-nonsense electronics courtesy of Hausu Mountain.
Cooper Handy’s new album “The Music Industry Is Poisonous” is out now.
The LA rapper and multi-instrumentalist’s new album is available on Bandcamp today via POW Recordings.
The Richmond rapper on his new album “For My Mama and Anyone Who Look Like Her” and the pitfalls of genre.
Hannah D‘Amato answers some of our burning questions about the Oakland rockers’ recent self-titled debut (and milk).
You can listen to “Everything Pale Blue” in full ahead of its Friday release via Orindal Records.
The LA-based songwriter is sharing a video for the track from his newly released “Keep Trying” EP.
The month’s most discourse-worthy singles, according to our Senior Editor.
The artist shares how the expansive set of songs featuring Mac DeMarco, Cola Boyy, and more came together.
The New Orleans–based duo’s latest LP, “I Could Only See Night,” is out now.
It’s the second track Bauer’s released this year via his label Fortune Tellers.
With news of a second Trust Records pressing of their seminal 1980 debut album “Group Sex,” Morris tells us what he was jamming in the early ’80s.
It’s the second track released from the Beijing group’s forthcoming “Phantom Rhythm Remixed.”
It’s the latest single from the Chicago group’s self-titled final album.
The songwriter’s Epitaph debut “Sucker Supreme” arrives this Friday.
The industrial Toronto duo’s fifth album arrives this fall via Felte.
With his Captured Tracks debut “Some Days” out today, Jeremy Haywood-Smith shares a playlist of some of his favorite tracks by Winnipeg peers.
