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.
Various artists, Red Xerox: Chicago Youth Beat 2020-2025
Spotlighting the diversity of Chicago’s underground scene, this comp is as much a symposium for genre-defying trailblazers as it is a no-skips playlists capturing the city’s budding youth-beat movement.
Cut Worms, Transmitter
Produced by Jeff Tweedy, Max Clarke’s fourth album tampers down the luster of past records, grounding aspects of the indie-folk songwriter’s music that once seemed impossibly pristine.
Kim Gordon, Play Me
Fully embracing the trashy SoundCloud-era internet aesthetic as she raps, sings, and shreds over industrial clatter, this is the sound of an artist who’s still inspired by the cutting edge at 72.
Mischa Pearlman
Jawbreaker at Riot Fest / photo by Brigid Gallagher
More than twenty years after a bitter dissolution, the modern punk legends have rejoined. Here, members of the Jawbreaker scene and story recount the saga and impact of one of the heaviest—and most literary—bands ever.
Shakey’s response to Trump is one that the USA desperately needs.
“Soul of a Woman” is full of light and hope, serving as a testament to the beauty of life—and love and friendship and all that good stuff we get to experience in our short time on this planet.
The Montreal quartet are back with a truly triumphant return.
The Spanish artist known for his deranged—but brightly colored!—comics talks police brutality, Facebook, and traveling in the US.
photo by Joe Dilworth
Class warfare, civil rights, Donald Trump: That’s not the whole story.
An exhilarating journey into one of contemporary music’s most inventive and eccentric bands.
While “Trouble Maker” is far from a political record, its songs certainly exist within the fragile framework of America in 2017.
Comprising eleven downtrodden, sunken-hearted, minor-chord songs, Big Thief’s sophomore album traverses the dark side of humanity, but pairs the despair with a ragged beauty.
A more than welcome addition to—and expansion of—the Hold Steady frontman’s catalog.
Everything Sleaford Mods say in these twelve songs is thoroughly valid and, frankly, needs to be said.
It’s not the second coming of “The Sophtware Slump.” But it also isn’t trying to be.
Singing the praises of the undersung singer-songwriter.
On his solo debut, the Ought frontman embarks on his own personal exploration of sounds and genres, ideas and influences.
The LA native’s debut is an escape route from Trump’s America into an alternative and rose-tinted reality.
The four members of The Menzingers have all hit their thirties. “After the Party” confronts that reality and all the realizations that come along with it.
The Arrival composer gives voice to an unlikely subject: himself.
Beyond the big hits, R.E.M.’s seventh album is a record full of nuances, a record that matched the quantity of units sold with the quality of its songwriting.
Natalie Mering’s newest release straddles the world we inhabit and the marvels we imagine beyond it.
Darkness and light battle it out in M.C. Taylor’s latest.
