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.
Joyce Manor, I Used to Go to This Bar
The Torrance punks’ seventh album sees the trio firing on all cylinders with their signature punchy hooks and catchy choruses culminating in 19 minutes of sheer pop-punk glory.
Searows, Death in the Business of Whaling
Alec Duckart’s nautically themed second album infuses its emotionally fragile indie-folk with a trudging heaviness that pushes toward doom-metal territory.
Camper, Campilation
Flush with a historic list of Black voices both past and present, the producer’s debut album sees him devise yet another way to remake the wheel of soul.
Natalie Marlin
Constricting yet chillingly spacious, the atmosphere of this debut is guided by the achingly human tremble in Mohr’s voice and the tangible weariness of her minimal use of guitar and synth.
Within the overwhelming force and unfathomable cosmic horrors of the metal duo’s latest LP rests a remarkable emotional complexity, proving the band wields as much pathos as they do pain.
The duo’s sixth album is a mad cocktail of nu-metal sneers, industrial sludge rock, and electropunk angst that tests the limits of the project’s ethos.
Johnny Whitney and Jordan Blilie discuss their upcoming reunion tour, the quintet’s undeniable creative chemistry, and the evolving hardcore landscape.
With the inaugural edition of the multi-venue event taking place back in June, we spoke with co-founders KW Campol and Denholm Whale about their inclusive approach to celebrating metal, noise, hardcore, dark folk, and everything in between.
The Wednesday guitarist’s third solo record is a staggering refinement of no-frills songwriting that swaps the bells-and-whistles novelties of its predecessor with something more muted.
The shapeshifting grindcore collective continue to find new brutal horizons to explore on their expansive yet focused first non-collaborative LP in three years.
The Manchester quartet’s most consistent record in years pairs themes of the eternal uphill climb of inhumane capitalism with the band’s own creative ascent.
The songwriter discusses finding beauty in “cringe,” the influence of dreams, and sharing the catharsis of their new album in a live setting ahead of their performance at The Fonda this weekend in LA.
Lætitia Tamko uses her third LP to process all of the mournfulness and ecstasy, excess and ennui of the past four years using the sounds she found in her escapes to nightclubs to cope.
Rosenstock’s fifth album carries the weight of all the global erosion he’s always sung about while providing a captivating new glimpse into how his songwriting may continue to mature.
Animal Collective’s Dave Portner shares how drone music, meditation, and community fed into 7s, one of his most human solo releases to date.
Alloysious Massaquoi discusses recapturing youth and breaking new ground on the band’s fourth LP.
