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.
The Nude Party, Look Who’s Back
The seven-piece rockers’ latest record serves as a sonic wayback machine to a moment when rock ’n’ roll was nothing more than a good time.
Colossal Rains, Feral Sorrow
The Blacklisted offshoot’s debut album embraces the joy of hardcore while dipping into something doomier with haunting production that eschews bright and clean sounds.
Beverly Glenn-Copeland, Laughter in Summer
The emotional new collection from the 82-year-old composer/vocalist is full of sedative new-age sounds and smartly executed art-pop that skews toward the pastoral and elegiac.
Nate Rogers
The most slept-on Beatles solo album was also one of the first—and likely the most off-the-cuff, too.
What many consider the scariest movie ever made started as a casual idea tossed out to a young filmmaker who understood the terror inherent within our own homes. That filmmaker also knew how to play the synthesizer.
*flips hair out of eyes while rock-climbing*
Movie: good. Van Morrison singing Pink Floyd while Leo takes his shirt off: bad.
Courtney Barnett has been building quite the home for herself in our cultural pantheon. But she needs a place for her cat to stay, too.
Now that every new release is considered to be a potential protest album of some kind, “Con Todo El Mundo” has arrived wonderfully devoid of any superfluous meaning.
The London duo should’ve become an institution. But with their final album supposedly scrapped, they’re at risk of becoming a footnote.
Oh, so you’re such a big fan now? Name three of their lawsuits.
Rather than avoiding the ordinary details of our landscape, the LA photographer is focusing on them—and abstracting them into something new.
Oscars, Schmoscars. We’ve got the real winners of the family right here.
Ready, steady, go.
Headliners were a story, as always, but they weren’t the story out of the fest’s inaugural three-day run at Expo Park.
Crank up the Beach Boys, baby: it’s time to figure this thing out.
In an age of army-sized writing teams crushing any sense of person on most major label releases, Lorde exists as a disarmingly legitimate personality.
Not all fan theories are garbage.
If the critique of Woods is that they don’t shake things up enough, here is a definitive example to the contrary.
For a songwriter known for his inability to write a bad song, it’s easy to forget that Britt Daniel was once pushed to the brink. And whether he wants to or not, on “Hot Thoughts,” his group is bridging back to the beginning.
“Hang” feels like a dramatic work in eight parts—a vaudeville act about Hollywood and the bastardized Manifest Destiny that it’s created.
Strange as it may sound, two of music’s heaviest rock acts also function as two of its most sincere folk revivalists. But is it really a revival act at all?
Yeah, yeah, we get it. Beyoncé had a good year. But can we get on to the more important stuff now?
