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.
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The LA group’s debut is an extremely stylish backdrop with no magnetic centerpiece, a fascinating—and even useful—snapshot of indie rock’s current preoccupations.
Fat Dog, Cancel Me (I’m Tired)
Still in their puppy years, the London dance-punk experimentalists’ second LP reflects our world at a time when chaos reigns and no one seems to be bothering to snap a leash onto its collar.
Bob Dylan, The Rolling Thunder Revue: The 1976 Live Recordings
Capturing 22 different shows on the titular mid-’70s tour, each torrid, angst-ridden live take on this 39-disc collection sounds more manically driven than the gig before it.
Samantha Sullivan
The Asheville band’s latest set of contemporary Southern-gothic tales thrives on hyper-specific lyrical details as sweet sentimentality disarmingly gives way to visceral walls of sound.
The Kansas City trio ushers in a new kind of tenderness with an EP running the gamut from slowcore to screamo, one that’s vulnerable and violent and completely captivating.
On their debut album, the LA trio prove they’ve done their homework when it comes to pulling ’90s shoegaze influences as they create blissed-out sounds to complement lyrics about growing up during COVID lockdown.
Blair Howerton shares how artists ranging from Silversun Pickups to Brooks & Dunn inspired the Texas-reared project’s second album, out now via Fire Talk.
Acknowledging their past without relying on it, the twee-pop duo expands on the folk-infused cuddle-core that first captured listeners’ hearts 30 years ago on their first album since 2000.
The Philadelphia-based group’s latest album Life on the Lawn arrives March 29 via Crafted Sounds.
A sharp departure from the offbeat folk and whimsical acoustics that defined last year’s debut full-length, the duo’s new EP experiments with electronic sounds and early-internet aesthetics.
With their proper debut, Kevin Krauter and Nina Pitchkites keep it short and sweet as they soundtrack themes of contemporary loneliness with the influences of MBV and The Sundays.
With the cult Boston shoegazers returning with their first album in 30 years this week, we asked nine current artists to detail what Delaware has meant to them over the years.
The dream-pop trio celebrates the precarity and preciousness of life with delicate and airy sounds on their first record in nine years.
On her debut, Addie Warncke synthesizes the data and digits of the deep web to make swirling shoegaze flush with emo influences.
On his self-titled third album, Max Clarke blatantly rejects modernity in favor of tradition as he opts for ’60s-era starry-eyed ballads and swooning soft rock.
The art-rock duo turn burnout into playful yet sharp post-punk riffs on their sophomore record.
On their debut album, the Manchester-formed industrial noise outfit manages to come across as angelic and avant-garde all at once with such suaveness it makes your head spin.
The Brooklyn-based art-punk sextet reinvent themselves while crafting their own creation myth on their sophomore album.
